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THE WOMEN’S COLLEGE • CLAREMONT

TheArt issue Scripps Magazine • Fall 2006 262139_Scripps_01-13_r2.qxd 11/3/06 10:17 PM Page 2

editor’sPAGE

The Artful Dodge

I HOPE THE IMPORTANCE OF ART in our lives at Scripps and the value we place on it speaks for itself within these pages. There are times when it’s an editor’s job to let others have the use of the hall.This is one of them.Tenisha Harrell ’07, who accepted Scripps’ offer last fall to continue her education here after Hurricane Katrina closed down her university, sent the message below to the Scripps community.

Mary Shipp Bartlett

Greetings to my fellow students, faculty, staff, and administrators,

I am filled with several emotions as I send this e-mail of gratitude to each of you! For this day one year ago, September 14, 2005, I arrived at Scripps College from Xavier University in New Orleans to be welcomed with an enormous amount of warmth.

Many families, students, children, homes, schools, churches, universities, and other institutions have not and perhaps may never recover from Hurricane Katrina. However, here I sit a year later blessed to: 1) have continued my education, 2) have shelter with food, 3) know where my family is, as they know where I am, 4) have a sound mind, body, with spirit, 5) be acclimated to the Scripps community smoothly due to openness/involvement, 6) have a better appreciation for life knowing that change is constant and sometimes without warning and 7) be encouraged to live a life that calls me to give above and beyond all that has been bestowed upon me. My pastor charged our congregation one Sunday to “outlove” others! Tenisha Harrell ’07 This past year has poured out many victories as well as some struggles.As I sit in a time of reflection due only to grace, I realize I have shared and continue to share this year’s journey with each of you in some form. Though I want to thank you each individually for the unique way you have added to my life, it matters more that you know, as a collective group, your acts will always remain dear to me. My prayer remains to be that Louisiana will rise up and be exposed to the opportunity that I have had.

Our Scripps community has allowed me to think back in a spirit of remembrance and look forward to change joined with hope. Live a beautiful today!

Thankfully in faith,

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vol.78NO.4

DEPARTMENTS

IFC EDITOR’S PAGE 2 BROWSING ROOM Campus news and events. 12 PERSPECTIVES Bruce Coats writes on Japanese woodblock print artist Chikanobu; Eric T.Haskell, on Mallarmé and the book arts at Scripps. Alumnæ News 38 LETTER FROM LORI STEERE 39 DIANO HO REMARKS 40 ALUMNAE SPEAK: “MY FAVORITE PROFESSOR” 44 CLASS NOTES Post Scripps 52 “THE COURTAULD EXPERIENCE” by Jennifer Spears Brown ’00

Mary Shipp Bartlett EDITOR Margaret Nilsson Sarah Cook ’07 MANAGING EDITOR works on a portrait for her Pauline Nash advanced painting class. ASSISTANT EDITOR Matt Hutaff WEBMASTER, STAFF WRITER FEATURES Laura Benson ’10, Alysha Chan ’09, Lindsey Galloway ’07, Holly Haymaker ’08, 15 The Treasures Jamie Horowitz ’07, Jennifer Loesch ’09, The Scripps College collections hold a magnificent, and often surprising, array Susana Lopez ’09, Ilona Zbirun ’10 STUDENT INTERNS of work by prominent artists. Mary David MacNaughton ’70, director of the Catherine Pyke ’79 Ruth Chandler Williamson Gallery, reveals how Scripps acquired this art, how it ALUMNAE ASSOCIATION LIAISON is cared for and displayed, and future plans for the collections. Lime Twig Group DESIGN 22 The Teachers Dual Graphics Scripps art and art history professors offer a wealth of talent and experience. PRINTING Ian Bradshaw: IFC (above), BC, p. 12 26 The Visionaries Kristy Campbell: p. 5 Suzanne Ely Muchnic ’62 looks at how Scripps alumnae are making their mark Jason Foong: p. 6 Matt Hutaff: p. 8 in all corners of the art world. Darby Carl Sanders: IFC (below), pp. 10-11, 22 Joel Simon, p. 13 32 The Last Witnesses Bill Youngblood: FC, pp. 2-4 Professor Ken Gonzales-Day’s dramatic photographs of California oaks bring Ilona Zbirun: p. 1 attention to the little-known history of lynchings in California. PHOTOGRAPHY Fall 2006: Vol.78, No. 4. SCRIPPS,The Women’s College, Claremont (USPS #486-940) is published quarterly by Scripps 36 Ensnaring the Moment College, Office of Public Relations and Communication. Thoughts on the intersection of photography and poetry by Leah Ollman ’83. Periodicals postage paid at Claremont, California. Copyright ©2006.All rights reserved. Postmaster: Send address changes to Scripps College, Office of Public Relations and Communication, Cover: Stone carving by Albert Stewart, on south side of Vita Nova 100, circa 1960; 1030 Columbia Ave., Claremont, CA 91711-3948. mosaic background by Denis O’Connor. Photograph by Bill Youngblood. Printed on recycled paper.

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Scripps Welcomes New Faculty

Each time new members join the Ou’s academic areas of inter- est are Calderon-Zygmund faculty, the College welcomes fresh harmonic analysis, the study of certain operators that arise nat- ideas and perspectives into its rich urally in partial differential equations; mathematical imaging, and distinctive academic heritage. and mathematical linguistics. Ou, who has practiced martial arts for 20 years, has started This fall, Leigh Gilmore an Aikido club on became the first occupant of campus this year. the Dorothy Cruickshank Backstrand Chair in Gender WINSTON CHIH-WEI OU and Women’s Studies. Ethnomusicologist Cándida Jáquez came to the Department Her scholarly articles and of Music this fall teaching two courses on music traditions around books have made considerable the world.According to Hao Huang, chair of the Music Department, contributions to the field of “She is an ideal person to bring an ethnomusicology program to autobiographical theory; they fruition at Scripps. She has a wealth of scholarly and pedagogical include Autobiographics:A expertise in world music and media studies, and she contributes to Feminist Theory of Women’s the breadth and diversity of our curriculum and perspectives.” Self-Representation (Cornell Professor Jáquez’s research interests include musical and LEIGH GILMORE University Press 1994), cultural expression in the Chicano communities and identity, per- Autobiography and Postmodernism (University of Massachusetts Press formance, traditions, and 1994), and The Limits of Autobiography:Trauma and Testimony history of Latino popular (Cornell University Press 2001). music. “To study autobiography is to learn about history, psycho- Prior to her appointment analysis, culture, philosophy, law,” she said.“Autobiography offers at Scripps, Jáquez was a pro- a rich understanding of culture—it is wonderfully interdisciplinary.” fessor in the Department of Professor Gilmore received her bachelor of arts, master’s, and Folklore and doctoral degrees in English from the University of Washington Ethnomusicology at Indiana and recently taught in the Department of Rhetoric at the University, Bloomington. She University of California, Berkeley, and as professor of English earned her master’s degree in at Ohio State University. ethnomusicology from the University of Texas,Austin, Scripps’ newest member of the Department of Mathematics, CÁNDIDA JÁQUEZ and her doctoral degree in Professor Winston Chih-Wei Ou, names mathematics, martial musicology at the University of Michigan,Ann Arbor. arts, and music as his life passions (in addition to his fiancée, he is quick to point out). The College also welcomes visiting professors Adam Davis and After receiving his bachelor of arts in mathematics from Heidi Brevik-Zender. Adam Davis joined the Department of Art Princeton University, Ou obtained his master’s and doctoral this fall as a three-year visiting professor of ceramics. Before com- degrees from the University of Chicago; he then held a post- ing to Scripps, Davis taught at the University of Arizona, San doctoral fellowship at the Institute for Mathematics and its Diego Mesa College, and Georgia College and State University. He Applications in Minneapolis. Joining the Scripps faculty last spring, received his MFA at the University of Arizona and his BS in art he previously taught at Purdue University and Indiana University, from the University of Wisconsin. Davis has been included in U.S. Bloomington, in addition to being a visiting research fellow at and international art exhibitions since 1992 and was recently the Keio University in Yokohama, Japan. featured artist in an exhibition at the Athens Institute for

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Contemporary Art in Athens, Georgia. Odell Named Top Economic Heidi Brevik-Zender, a three-year visiting professor of History Teacher French, earned her MA and PhD in French studies at Brown University. She taught at the University of California, Santa Kerry Odell, the Mary W. Johnson Professor in Teaching, Barbara, and served as assistant editor for three years for the has won this year’s Jonathan Hughes Prize for Excellence publication Equinoxes,A Graduate Journal of French and Francophone in Teaching Economic History, presented by the Economic Studies. Professor Brevik-Zender’s research interests include cultural History Association. The annual award recognizes an out- and gender studies, in addition to French literature and culture. standing teacher of economic history in the United States, Her PhD dissertation,“From Fashion Writing to Writing Fashion: Canada, and Great Britain. Recent recipients have Modernity, Gender and LaMode in the Literature of Fin-de-siècle included professors from Amherst College, Harvard Paris,” examines the ways in which University, Oxford University, and UC Berkeley. Parisian women’s roles and femi- nine fashion changed rapidly at the Odell has taught economics at Scripps College since end of the 19th century. 1987, including principles of macroeconomics and inter- national economics. The College has recognized her skills in the classroom several times with the Mary Wig Johnson Award for teaching.

Dean of Faculty Michael Deane Lamkin commented:

HEIDI BREVIK-ZENDER “Scripps College is proud to have Professor Kerry Odell recognized with this national award. Her students, faculty colleagues, and our entire community have benefited from her excellent teaching at Scripps.”

The Economic History Association was founded in 1940 to ADAM DAVIS encourage and promote teaching, research, and publica- tion on every phase of economic history, broadly defined. The EHA encourages superior teaching by awarding the Jonathan Hughes Prize, named after “Autobiography offers an outstanding scholar and a rich understanding of influential culture—it is wonderfully teacher of economic interdisciplinary.” history. —Leigh Gilmore Backstrand Professor of Gender and Women’s Studies

Kerry Odell and her late buddy Dave.

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A Throw of the Dice January 16-March 9, 2007

Scripps College’s Clark Humanities Museum is restaging and Library, a second exhibition at Denison Library titled A Poetic Coup expanding an exhibition on the relationship between image and d’Etat: Mallarmé’s Influence on Artists’ Books, which runs text to commemorate the 65th anniversary of the founding of the concurrently with the Clark Humanities Museum’s offering.The Scripps College Press. A Throw of the Dice:Variations on Mallarmé’s exhibit includes materials from Denison’s Rare Book Room that Visual Poem first appeared as A Throw of the Dice:Artists Inspired by a were selected for their affinity with the Mallarméan aesthetic. Visual Text, at the University of California-Irvine Langson Library Presented as a pair, these exhibitions allow for a substantial in 2003-04. Partially underwritten by a generous gift from former reflection not only on artistic activity surrounding A Throw of the Scripps trustee MaryLou Boone and George Boone, the exhibition Dice but also on the lasting impact that Mallarmé’s masterpiece has also honors co-curators Renée Riese Hubert, who died in 2005, had on generations of book artists throughout the 20th century and Judd D. Hubert, both of whom published prolifically on and into the new millennium. image-text inquiry and who were instrumental in establishing it as In addition, an accompanying day-long symposium, a field of scholarly investigation.The exhibition fits within a distin- “Mallarmé’s Coup d’Etat:The Rise of the Artists’ Book guished Scripps tradition of events related to the book arts, as well Movement,” will be held January 27 on campus. Experts will as to the College’s long-standing commitment to inter- and cross- discuss and debate the influence of Mallarmé’s poetry and essays on disciplinary studies.A catalog will accompany this exhibition. the avant-garde book of the 20th century. In order to expand the intellectual contours of A Throw of the Dice, Judd Hubert will curate, in collaboration with Judy Harvey For Professor Eric Haskell’s perspective on the relationship between art and literature, please see page 13. Sahak ’64, the Sally Preston Swan Librarian at Scripps’ Denison

Detail from Nods (Granary Press, 1990) by John Cage, Barbara Fahrner, and Philip Gallo, a book in Denison Library’s exhibit featuring Mallarmé’s influence on artists’ books. From the Artists Books Collection, Denison Library.

“LANGUAGE AND CRISIS” Tony Crowley, the Hartley Burr Alexander Professor of Humanities, gives an impassioned and provocative address to the Scripps community at the academic convocation, September 7; Vice President and Dean of Faculty Michael Deane Lamkin looks on. Crowley’s talk may be viewed in its entirety at www.scrippscollege.edu/dept/ newscenter/news/features/2006/ crowley.html.

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From left, four of Scripps’ six QuestBridge students this year: Djamila Ricciardi, Paulina Sanchez, Mayra Ibarra, and Cindy Ballon, all first years.

Quest for Success

Matchmaking gets a bad rap, but, for six first-year students, a college matching program for bright, motivated, applicants has provided them with full, four-year scholar- ships to Scripps. Through the QuestBridge College Match program, Scripps is moving forward in its outreach efforts to attract qualified but economically disadvantaged students who might not otherwise consider applying to a private liberal arts college.

“Students and counselors don’t always believe small, lib- eral arts colleges are a viable option for high achieving, low income students,” explains Assistant Director of Admission Patty Alcala-Jacobo. “What I like about QuestBridge is that the students know they want to go to college and are exploring their options—they’re ahead of the game.”

QuestBridge’s College Match program is billed as an alternative admission and financial aid process, whereby finalists rank those colleges they would definitely attend from a list of 15 participating schools—including Stanford, Columbia, Princeton, Swarthmore, and Wellesley. These Ground rankings are binding, so if a college also ranks the finalist, both parties are committed to admission and a full, four- Breaking year scholarship package.

Victoria Seaver Dean, Scripps trustee In its first year in the program, Scripps had an “incredibly and daughter of Sallie Tiernan ’45, productive experience,” says Director of Admission Amy breaks ground for the Sallie Tiernan Abrams. “We went in thinking we’d match with three stu- Field House, on October 6, 2006, as dents, and we ended up with six amazing young women.” Tiernan’s sister, Kathleen Markham, watches.The Tiernan Field House Among those amazing new members of the Class of 2010 will be located on the far east side of are a budding forensic scientist, an aspiring museum cura- campus next to the swimming pool tor, and an academic athlete who dreams of working with and will feature state-of-the-art Doctors Without Borders someday. “Having an education— recreational and athletic facilities. especially at a place like Scripps,” says Djamila Ricciardi, a QuestBridge student from Denver, “really opens up the world to you. I think I can discover what direction I’m going in while I’m learning here.”

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College Celebrates Arrival of Class of

Excerpts from Vice President and Dean of college in the country, and though we have Admission Patricia Goldsmith’s Address not yet received this year’s data, with 17 National Merit Scholars in the class, I Our first-year class numbers 223 strong expect we will hold that distinction again. and is joined by 19 outstanding transfer Our new students sport GPAs and students. Curiously, half of those transfer standardized test results that make them students applied to Scripps a year ago and competitive candidates at the most selective opted to go elsewhere.The smaller part of institutions in the country; the mid-50 per- me really wants a chance to say,“I told you centile of the SATs was similar to or better so,” but today being opening day, my more than last year’s entering classes at Smith, generous self extends you the very warmest Bryn Mawr, Mount Holyoke, and Barnard. of welcomes to the Scripps family. And once again, we watched students say no This select group of 242 brings to exceptional institutions across the country First-year students, resident advisors, and peer mentors dance on Jaqua Quad at “Scripps us tremendous academic strength and so that they could experience the intimacy Under the Stars,” an annual orientation event. intellectual curiosity…The National Merit and intensity of a Scripps education. Corporation recognized 48 of our incoming They are, however, so much more than first years and three of our transfer students academicians…They speak 17 languages, for their outstanding performance on the including French, Spanish, German, National Merit Qualifying Test.For the Mandarin, Chinese, Italian,Vietnamese, past three years, Scripps has enrolled more Arabic, Cantonese, Czech, Hawaiian, National Merit Scholars than any women’s Taiwanese, Portuguese, Japanese, Swedish,

Dedicated to the Greater Wisdom

When Republican strategist and political commentator Mary Program, “The End of Oil,” welcomed Dr. Helen Caldicott, the Matalin spoke recently at Scripps, she not only shared her Nobel Peace Prize winner who has devoted 35 years to medical insights and expertise, she also upheld the college’s tradition of and nuclear education and public advocacy. In spring 2007, the fostering and encouraging discussion that befits our community European Union Center of California will host a lecture with the of higher learning. former President of Ireland and the United Nations High Commissioner for Human Rights, Mary Robinson. Matalin’s talk inaugurated the Elizabeth Hubert Malott Public Affairs Program. The speaker series was named in honor of Best-selling author Amy Tan and Shirley Corriher, biochemist, Elizabeth Hubert Malott ’53, who expressed interest in ensuring chef, and chemical consultant for many of the world’s great chefs that students at Scripps were exposed to a wide array appeared on the Scripps event roster alongside Byron Hurt, direc- of academic and co-curricular offerings. The pro- tor of Beyond Beats and Rhymes: A Hip-Hop Head Weighs in on gram makes manifest her belief that a range of Manhood in Hip-Hop Culture. Journalist Paul Roberts and author opinions about the world—especially opinions William Clark joined the Humanities Institute’s discussion on what with which we may not agree, or think we a post-oil age might look like. And professors Barbara Bloom, agree—leads to a better educational experience. Julia Sudbury, and Juanita Díaz-Cotto, spoke in conjunction with the Intercollegiate Women’s Studies Center program, “Interrupted The Alexa Fullerton Hampton Speaker Series, Life: Incarcerated Mothers in the U.S.” “Voice and Vision,” and the Scripps College Humanities Institute Fall The College’s dedication to greater wisdom is evident in this brief sampling. To see when the next world-class lecturer will be on Republican strategist and political campus, visit www.scrippscollege.edu. commentator Mary Matalin

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An Early Decision candidate, now a first-year f 2010 student, on why she chose to apply to Scripps: Russian, and Ukrainian.We also have “I first became aware of Scripps College in 8th grade from an article in Seventeen students proficient in Latin and American magazine entitled ‘50 Coolest Colleges.’…When my college hunt became more serious Sign Language. my sophomore year, I went back to that list and started to research the schools that Thirty-eight percent of the class still caught my attention, and Scripps was still top of the list. The idea of a women’s attended high school in California, with college—a place where I wouldn’t be in the minority for wanting a career before having the remaining coming from high schools kids—really appealed to me, and it still does. I flew out to California for Preview in 31 states and four foreign countries… Weekend with my mom last year. Corny as it is, the moment I stepped onto campus, including: Chugiak,Alaska; Pulalani, I felt at home…That night, various girls were in and out of the dorm rooms, trading notes and studying for midterms the next morning. These girls weren’t competing with Hawaii; Lincoln, Massachusetts; each other for better grades; they were collaborating so that they could all understand Birmingham,Alabama; Moose Lake, the material and succeed.” Minnesota; as well as Tokyo, Singapore, and India.A whopping 17 students come from Seattle. her pilot’s license; one who has backpacked Nutcracker;” one was voted Oregon This means, from this point forward, across the Sierra Nevada; one who Youth Soccer Referee of the Year; and in most parts of the world, they will have a mountaineered the Andes, and one who another, seriously, has performed and trav- sister. In Seattle, many sisters. keeps bees. One serves as a docent at the eled with a national circus for many years. This class is adventurous, fearless, and Peregrine Fund World Center for Birds of Indeed, you’ve all been brought to views risk as nothing more than opportu- Prey. One works at a camp for Tibetan this place to collaborate, to understand, to nity for growth. In their midst are an refugees; one young woman who probably succeed; to learn, to teach, to make every experienced fly fisherwoman; a young deserves to be canonized leads children member of this community a little better woman who is in the process of getting in an annual production of “The than we would be without you in our midst.

CONTEMPORARY ART Samella Lewis Collection

One of the College’s current strategic planning goals is to build a collection of contemporary art that will, as President Nancy Bekavac says,“enhance students’ understanding of art of our time by seeing examples of extraordinary work.” Out of discussions begun by artists Susan Rankaitis, Fletcher Jones Professor of Art at Scripps, and artist Alison Saar ’78, came the idea of a collection of contemporary art named after one of the College’s most distinguished emerita professors, Dr. Samella Lewis. We are pleased to announce the Samella Lewis Collection of Contemporary Art in honor of Dr. Lewis, the first tenured African American faculty member at Scripps, who taught art history at Scripps from 1969 through 1984.As one of the founders of the Museum of African Art in Los Angeles, the author of several books on African American art history, and the producer of four films on African American artists, Dr. Lewis has been a leader in her field. She also has been a mentor to Scripps alumnae, many of whom have gone on to careers in the visual arts. In recognition of her excellence as an artist, teacher, and scholar, Scripps adds this honor to the Samella Lewis Scholarship, which awards an African American student for her “academic achievement, character and leadership.” Like the scholarship, the Samella Lewis Collection of Contemporary Art will benefit Scripps women who study art. This collection will honor Dr. Lewis by acquiring works by Samella Lewis; seeking donations of works by contemporary artists; creating an acquisition fund to build the Scripps Collection; and enhancing the collection of work by past and present studio art faculty. For more information, contact Nancy Ambrose at (909) 607-7533.

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WILLIAMSON GALLERY sweltering heat of summer behind, they enter the cool rooms that The Apprentices house the paintings, textiles, and ceramics of the Scripps collection and begin to understand the responsibilities of gallery operations. he apprentice is one of the most enduring icons.Whether In addition to gaining hands-on experience, the interns inter- it’s 14-year-old Leonardo da Vinci mixing colors in a viewed art writers, archivists, and museum directors.Among them TFlorentine workshop or young Benjamin Franklin assisting were Scripps alumnae Joanne Heyler ’86, director of The Broad at his elder brother’s press in Boston, history is filled with tales of Art Foundation in Santa Monica, and Suzanne Muchnic ’62,art young artisans seeking the tutelage of masters from the previous critic for the Los Angeles Times. generation.And last August four interns at the Ruth Chandler The four paid internships are funded by a grant from The Williamson Gallery added their summer to this long history.They Getty Foundation and an endowment established by Jane Hurley spent 10 weeks writing conservation grants, framing woodblock Wilson ’64 and Michael Wilson. Mary MacNaughton calls the prints from Meiji-era Japan, and accompanying Williamson Gallery internships “one of the most successful diversity programs at The director Mary Davis MacNaughton ’70 on meetings with Claremont Colleges.”Although students eligible for the three Getty veterans of the art world. multicultural internships can be enrolled from any college in Los Reflecting on her experience, Megan Avalos ’09 said that Angeles County, this summer all three were enrolled at The before her internship she marveled at the jumbo-sized exhibit titles Claremont Colleges—Scripps students Megan Avalos and Kelly and explanations plastered across gallery walls.While assisting the Sinnott and Harvey Mudd student Chris Yoo.This summer’s Williamson Gallery collections manager, Kirk Delman, she solved Wilson intern was Ilsa Falis. the wall text mystery while learning the tools needed to organize For some, a summer with the gallery provides their first hands- and install an exhibition.As her first career-focused internship, the on experience with art. Kelly Sinnott ’08 said,“As a science sophomore said it helped her find direction.“It dawned on me that major, I had little art experience and this internship broadened my I only have two more summers before I have to figure it out.” horizons.” Kelly, who is studying neuroscience at Scripps, spent For 14 years the Williamson Gallery has helped students inter- her summer poring over images from the collection as she pre- ested in art conservation or curatorial careers figure it out. Each pared them for the Williamson’s electronic catalogue. Over 6,000 summer, the interns observe and participate in the conservation, art objects from the collection are on continuous exhibition on storage, and exhibition of the College’s art collection. Leaving the the gallery’s website.

Laura Loesch ’09 Stacey Wood is happy to be embarrassed. conducts a chemistry experi- “Three Scripps students won an award from ment, while twin sister Jennifer ’09 the National Science Foundation for their (a non-science research poster at a conference in January major) observes. 2006,” the assistant professor of psychology says. “It was somewhat awkward as the award was designed for graduate students! They were the only undergraduates present- ing at this small and elite conference.” The project by Sasha Jouk ’07, Amy Vanderloop ’07, and Lauren Moneta ’06—“Does Age Bring Predictive Wisdom?”—investigated how people use emotion to help guide decisions regarding the future.

Wood and other Scripps professors are I Can’t–I Have Lab! part of the vanguard of a new approach to undergraduate education—directed and Unique Scripps programs combine undergraduate study interdisciplinary research. While such with graduate-level research techniques. And it’s paying off. research is traditionally performed by

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For others, a gallery internship advances a chosen career path. said Caitlin Silberman ’06. One of the many talented Scripps Ilsa Falis ’06, who spent her junior year studying art conservation in alumnae to attend London’s Courtauld Institute of Art, the renowned Florence, worked side-by-side with Getty conservators restoring one establishment for teaching and research in art history and conserva- of Scripps’ Shakespearean bas-reliefs.The intern mapped and flagged tion, Silberman started an M.A. in art history at Courtauld this fall. the relief panel which enabled the conservator to repair minute damage Appreciating the contributions Scripps women have made in her such as specks of latex paint or nail polish. Sure to bolster all of their education, Silberman said,“As the Wilson family so generously made resumes, for Ilsa the value of this experience has already paid off. my internship possible, my study at the Courtauld is made possible by During one of the field trips, Ilsa met and subsequently accepted an a scholarship from the Jungels-Winkler Foundation, founded by internship with the renowned Santa Monica conservator Aneta Zebala. Scripps alumna Gabrielle Jungels-Winker ’72.” Like others who have gone before them, the interns were intro- —Pauline Nash duced to collection management at the Williamson Gallery and have continued their art education at renowned institutions where the gallery left off.After her tour as a gallery intern, Valerie Whitacre ’08 spent the summer combing the treasures of the Louvre, researching 18th and 20th century artists for the Musée d’Orsay in Paris. She said her experience at the gallery made the difference in getting the Parisian internship.“I sent out a lot of applications and got a lot of ‘no’s’ but just as I accepted a marketing internship I received a ‘yes’ from the Musée d’Orsay.They were looking for experience and the gallery experience was key in my acceptance.” “Through every aspect of my internship, Professor MacNaughton remained an incredible teacher, mentor, and friend,”

The Ruth Chandler Williamson Gallery summer 2006 interns from left: Chris Yoo (HMC ’08), Ilsa Falis ’06, Megan Avalos ’09, and Kelly Sinnott ’08.

graduate students, Scripps coordinates with and important problems in science these as well as priority for summer research several other Claremont Colleges to encour- days, from issues such as global warming grant positions, and are often so busy age students by giving them graduate-level to nanotechnology and unsolved questions with their classes the mantra of “I can’t, responsibilities. It’s a move that’s fostered regarding how the brain works, are all I have lab!” has spilled over onto T-shirts excitement among a number of disciplines, intensely interdisciplinary problems,” says they wear. particularly biology, chemistry, physics, Newton Copp, Sidney J. Weinberg Jr. The National Science Foundation believes and psychology. Professor of Natural Sciences and JSD in this symbiosis of theory and practice and chair. “If we are to prepare students to “Students’ motivations are diverse,” says has awarded the Joint Science Department work on these problems and questions, Wood. “Some want experience and a letter with a generous $498,000 grant. But for then we must help them develop the for graduate school, others are still figuring students who have embraced the work capacity to think beyond the boundaries out: is this for me?” For those who decide load, they’re just excited to be getting their of traditional disciplines.” it is, several have gone on to pursue their feet wet with real lab time. passion at such schools as Stanford, Duke, Training includes a rigorous two-semester- —Matt Hutaff and Harvard. long course featuring lectures, discussions, and lab work. The goal, says Copp, is to Scripps is also partner with Claremont “provide focal points for bringing together McKenna and Pitzer Colleges in the Joint principles and techniques of chemistry, biol- Science Department, a fusion of biology, ogy, and physics.” Students engaged in the chemistry and physics into one intensive, program receive double credit for their work over-arching program. “The most exciting

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SIMPLY BEAUTIFUL Art pervades the campus, eliciting delight and appreciation from members of the Scripps community and visitors alike. Below are some of our favorites, which complement Ellen Browning Scripps’ vision in 1926 for the yet-to-be completed Scripps College; she wrote: “I am thinking of a college c will unobtrusively seep into a s a standard of taste and j

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1 3 56 1. Chinese statue in Stewart Court, c. 19th century 2. Detail of tile mural, Pattison Court, Performing Arts Center 3. Gargoyle on façade of Denison Library 4. “Juncture” 7 by Aldo Casanova 5. Detail from mosaic by Millard Sheets on Garrison Theater portico 6. Detail from bronze door by Laurence Tenny Stevens, 1934, Malott Commons 1

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e campus whose simplicity and beauty a student’s consciousness and quietly develop d judgment.” PHOTOS: DARBY SANDERS

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6 9 11 7. Bronze bust of Millard Sheets by Richard H. Ellis, 1993, Bixby Court 8. Detail of bronze door, Malott Commons 9. Detail on door of Denison Library 10.Vase by Albert Stewart in Stewart Court 11. Detail of Alfredo Ramos Martínez’s mural, “The Flower Vendors,” Margaret Fowler Garden

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perspectives

When this generous donation was the rapid changes taking place in Tokyo and announced, the Marers were so impressed were increasingly nostalgic about the lost FACULTY VIEW with the Ballards’ gift that they con- world of the shogun.Throughout the 1890s, tributed more than 200 Japanese prints to Chikanobu produced single sheet prints, Scripps, including the Yoshitoshi works diptychs and triptychs, which promoted CHIKANOBU: that had been on loan. From these two traditional values and highlighted aspects of donors, Scripps received 105 Chikanobu Japanese culture that were being forgotten. Modernity prints in 1993, and the decision was made He created prints about filial piety and to exhibit and publish these works. Over neighborhood festivals to provide an and Nostalgia the last 13 years, the Chikanobu prints alternative to what many saw as the have been shown frequently in classes and deterioration of Japanese society caused exhibited on campus, but now these by imported ideas and modern methods. works are part of an exhibition that will Chikanobu’s last works in the early years of tour the U.S. and Japan, accompanied by a the 20th century featured brave samurai and catalog [written by Professor Coats] that heroic women of Japan’s past, models of surveys the career of Yosho Chikanobu appropriate behavior for the future. (1838-1912). The exhibition and catalog examine Chikanobu was one of the most Chikanobu’s work over 30 years from 1875 prolific artists of the Meiji Period (1868- to 1906. He lived in Edo/Tokyo and 1912), creating the designs for several collaborated with the best publishers and thousand woodblock prints and illustrated woodblock carvers of his time. However, books. His elaborately detailed full color very little is known about his personal life prints, called nishiki-e or “brocade prints,” as an artist, perhaps because family records documented current events in Japan as were not kept or were destroyed in the great the country rapidly modernized in the earthquake of 1923 and/or the bombings 1870-80s and depicted contemporary and of the 1940s that leveled much of the city. historical figures as well as kabuki actors While other Meiji Period print artists, like by Bruce A. Coats and legendary characters. Yoshitoshi,have been extensively researched Chikanobu came from a samurai and written about in English and Japanese It started with a cat named Yoshitoshi. background and was involved in several books, this is the first attempt to survey In the autumn of 1993, Scripps battles in the 1860s as the military Chikanobu’s whole career. College held an exhibition of Japanese woodblock prints by Tsukioka Yoshitoshi …they inquired if Scripps College might be interested (1839-1892).A group of 60 prints were borrowed from Fred and Estelle Marer in the album they had brought of 125 Yoshitoshi of Los Angeles, who were already well and Chikanobu prints. known to the College as collectors of American ceramics.The Yoshitoshi government of the shogun was replaced Following a showing at the Williamson Gallery exhibit was held at the Clark Humanities by a new imperial bureaucracy— in early fall 2006, the exhibition will travel to Museum in conjunction with an art his- Chikanobu was on the losing side! He Carleton College (Jan.-Feb. 2007),Vassar tory class on Japanese prints. Dr. and was captured, released, captured again, and College (March-May 2007), Denison University Mrs.William Ballard visited the show, jailed for his loyal support of the old (Sept.-Oct. 2007), Boston University (Nov. carrying with them a cloth-bound regime. Eventually, he was allowed to 2007-Jan. 2008) and DePauw University album.After carefully viewing the resume his interests in art and began to (Feb.-May 2008). In late 2008, the exhibition Yoshitoshi prints, they told Mrs. Nancy produce print designs in the mid-1870s. will open in Tokyo at the International Christian Burson, the humanities secretary, that At first, Chikanobu was an advocate University and then travel to other museums in their cat was named Yoshitoshi.Then of Westernization, depicting Japanese Japan.The exhibition tour and catalog are spon- they inquired if Scripps College might women in the latest French fashions and sored in part by two Mellon Foundation-funded be interested in the album they had celebrating the imperial family and their “faculty career enhancement grants.” brought of 125 Yoshitoshi and efforts to modernize the government and Chikanobu prints. society. However, by the late 1880s he and Bruce A. Coats is professor of art history and his audience were becoming dismayed by department chair.

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The history of book illustration is an intriguing terrain.Traditionally,“good” FACULTY VIEW illustrators retell the story in detail as they offer a precise pictorial view of what Mallarmé and transpires textually.“Bad” illustrators stray from the author’s intentions, misread the text or represent it inaccurately. During the Book Arts the latter part of the 19th century as liter- ature shifted towards modernity, artists at Scripps followed suit. Importantly, their work, too, transcended mimesis as it moved from by Eric T. Haskell representation towards abstraction.Thus, artists broke the shackles of mere “retelling” The best exhibitions tell a story, and this in order to think about texts in visual Under the spell of Un Coup de dés, others telling requires a host of skills, not the terms.The livre de peintre and the artists’ have joined the cause.As the exhibition least of which is sound scholarship.This book are the results of this rethinking. clearly demonstrates, the work of artists such is indeed the case of A Throw of the Dice: The period at which this verbal-visual as André Masson, Ellsworth Kelly, Christiane Variations on Mallarmé’s Visual Poem, [on revolution took place is precisely that of Vielle,Albert Dupont, Ian Tyson,and Gary exhibition at Scripps College’s Clark Stéphane Mallarmé. His experimental Young bring a new component to the poem Humanities Museum, January 16 poem on which the exhibition at the by adding images or new typographical elements and, through them, proposing The illustrated book offers a rich terrain of possibilities further layers of textual interpretation. in verbal-visual inquiry. In fact, ever since images Through an array of artistic media, from first appeared in books, they have shaped the ways lithographs and aquatints to woodcuts and in which we view texts. embossings, they enrich the typographical oeuvre already in place by Mallarmé, through March 9, 2007].The story here Clark Humanities Museum is based lies extending it in ways almost as innovative as is eloquently and elegantly told. By at the very threshold of this shift towards the initial gesture of le prince des poètes. selecting to display the same page of modernity. Un Coup de dés jamais n’abolira le In terms of the Mallarméan page and Mallarmé’s text as seen by various artists, hazard (A Throw of the Dice), first published what the Huberts have called its “spectacular the viewer is able to form comparative in 1897, is indeed a monument of modernity. whiteness,” its realm of possibility was the and contrastive dialogues of meaning. On June 20, 2006, the first draft of the leitmotif of the poet’s creative sensibilities, This, in turn, allows illustration to honor poem, containing substantial corrections haunting him until his demise. But in terms its original intent of illumination.The by the poet, was sold at auction in Paris of the book, Mallarmé gave the following shedding of light onto the text is, of for 185,000 euros (almost $200,000). very telling statement: “Le monde est fait course, the way in which the artist can The Bibliothèque Nationale pre-empted pour aboutir à un beau livre” (“The world was perform the role of critic by making us the sale and acquired this draft as a sort made to culminate in a beautiful book”).As rethink the words in the context of the of national treasure.Thus, over a century evidenced here, the exhibition at the Clark images that accompany them—and often after its publication, the text is still Humanities Museum is an ode to the very extend their sense. recognized for its avant-garde artistry, book that Mallarmé had in mind.As such, The relationship between art and reigning supreme as a modernist icon the exhibit allows us to comprehend the literature has long been a field of interest par excellence. Its innovative typography larger implications, fortuitous interactions to scholars. However, interpreting illus- and page design propose a pioneering and memorable intersections that profound trations, not only in order to understand step toward blurring the differences images so often evoke when interfaced their meaning but also to decipher their between verbal and visual presences. with potent texts. interface with the text that they accom- Rightfully so, co-curators Renée and pany, is a relatively new area of inquiry. Judd Hubert have called it “a dramatic Eric T.Haskell is professor of French studies and How illustrations can be deciphered, score staging a typographical spectacle.” humanities; director, Clark Humanities Museum; decoded, or even “read” in order to They have also noted with verve that “in and chair of the Department of French. shed light on the text and facilitate, even a sense, Mallarmé has attempted to reach enrich, our understanding of it, is central the millennium by staging a revolution to this inquiry. within representation itself.”

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Albert Stewart (1900-1965) Eternal Primitive, 1965 Margaret Fowler Garden Scripps College, Gift of Herbert Hafif, 1979

Margaret Fowler Garden was originally designed as a European medieval-style cloister garden to be located east of a proposed chapel. While the chapel was never built, Margaret Fowler Memorial Garden retains a “secret garden” quality as an enclosed space in the heart of the Scripps campus. Albert Stewart’s statue of a mother and child, Eternal Primitive, is one of several sculptures by Stewart on the Scripps campus. Stewart taught at Scripps from 1939 until his death in 1965. He was a leading American sculptor who created monumental public works in New York, Los Angeles, Pasadena, and San Francisco. On the south wall of the garden is Alfredo Ramos Martinez’s famous mural, The Flower Vendors. 262139_Scripps_14-37_r2.qxd 11/3/06 9:41 PM Page 15

The Treasures Finding Hidden Art at Scripps

by Mary Davis MacNaughton ’70

Alumnae are familiar with the magical effect that Scripps’ architecture and landscape have on the senses. Part of this magic surely comes from the art that graces the campus: think of the stunning Flower Vendors,Alfredo Ramos Martinez’s fresco mural in Margaret Fowler Garden; John Gregory’s Shakespeare reliefs in Balch courtyard; and Albert Stewart,Aldo Casanova, and Paul Soldner’s sculp- tures.These are Scripps’ public art treasures, but there are many others.At the Ruth Chandler Williamson Gallery this year, you also will see some of the hidden treasures at Scripps, in particular, selected prints and paintings from its extraordinary permanent collection. Each year, the Gallery, which adjoins the Millard Sheets Art Center on the West side of campus, presents four exhibitions that may cover a wide spectrum of artistic topics, from Western to Asian, and historical to contempo- rary.Whatever their theme, these exhibitions are designed to enhance teaching in art and humanities courses. Although the Williamson Gallery focuses on changing Paul Soldner exhibitions related to the artistic processes taught at Scripps, Vase, 1965 Raku Clay at times it also presents selections from the College’s richly varied permanent collection. For 13 years, the collection has been exhibited and cared for by collection manager Kirk Delman (MFA, CGU ’87), who oversees all photography, loans, and exhibitions of works. He has created many memorable exhibition designs, as well as the handsome installations from the collection that you see in various campus buildings, especially the art in the dining rooms at the Malott Commons and the Vita Nova Conference Room.

American and European Paintings and Prints Art holdings at Scripps are composed of many smaller collections, which came to the College through gifts and bequests.Although the total collection is wide-ranging, it has special strengths in certain areas:American paintings, Western prints, Japanese prints, as well as Chinese paintings and textiles, Chinese and Japanese cloisonné, and American ceramics.The American collection of paintings and works on paper is the result of a generous gift by General and Mrs. Edward Clinton Young of 71 works by American impressionist and realist painters. Jane Hurley Wilson ’64 also gave many key French 19th-century prints by Honoré Daumier, Guillaume Gavarni, and Jean Grandville.

Asian Art The Scripps collection of nearly 1,500 Japanese prints, from the 17th to 20th centuries, had many donors: Mrs. Frederick Bailey, Dr. and Mrs.William Ballard, Mrs. Simon Bolivar Buckner, Mrs. James W.Johnston, Stanley Johnson and Mary Wig Johnson ’35, Betty Hare, Ruth Le Master, Fred and Estelle Marer, Lilian Miller, and Louise Hawkes Padelford.

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The Aoki Endowment for Japanese Arts and Culture, made possible by a gift from the Aoki Corporation, has supported the cataloguing and mounting of the Japanese print collection, as well as the expansion of the collection. From the 1930s through the 1970s,William Bacon Pettus gave many 15th- through 19th-century Chinese landscape and figure paintings to Scripps. Now the College has the second largest collection of Chinese paint- ings in Los Angeles, after the Los Angeles County Museum of Art. Scripps also has one of the best collections west of the Mississippi of Chinese cloisonné, thanks to a gift in 1973 by Dorothy Adler Routh of 60 pieces, including incense burners, chargers, sculpture, and vases, all covered with inlaid decorations in jewel-like colors. In 2003, her children, Pamela and Douglas, added 150 more pieces, many of which have been displayed at the Clark Museum, the Honnold Library Founders’ Room, and the Williamson Gallery.

Contemporary Art One of the strengths of the Gallery program at Scripps is its emphasis on contemporary art. Last year the Gallery was the first U.S. venue for recent stoneware and steel works by Britain’s leading sculptor, Sir Anthony Caro. Other recent exhibitions have explored various themes.“In the Mind’s Sky: Intersections of Art and Science” (2000) examined ways in which artists have been inspired by scientific phenomenon on microcosmic and macrocosmic scales.“Reading Meaning” (2004) looked at the fusion of words and symbols in the art of Squeak Carnwath, Lesley Dill, Leslie Enders Lee and Anne Siems.“Matter and Matrix” (2003) featured art evoking networks from music to the worldwide web.The latter included work by Kris Cox, a graduate of CMC, and three Scripps alumnae:Amy Ellingson ’86, Elizabeth Turk ’83, and Jane Park Wells ’93.

Contemporary Ceramics One of the finest collections of contemporary ceramics in the United States, known for its emphasis on post- war West Coast ceramics, is the gift of Fred and Estelle Marer. Indeed, each year the Marer Collection is eagerly studied by hundreds of students who come to see the longest running exhibition of contemporary ceramics in the country, the Scripps Ceramic Annual. Now in its 63rd year, the Annual always has been curated by an artist who is prominent in the ceramic field. Students who come to this exhibition also see the Marer Collection, which contains around 1,500 works, including those by some of the best-known names in ceramics: among them are Laura Andresen, Shoji Hamada, Jun Kaneko, Marilyn Levine, Harrison McIntosh, John Mason, Paul Soldner, and Peter Voulkos.

Scripps Collection on the Road Works from the Scripps Collection are often requested for major exhibitions both here and abroad. One of the works in high demand is Theodore Robinson’s La Débâcle, (1892), recently featured in “Americans in Paris, 1860-1900,” which debuted at the National Gallery in London, traveled to the Museum of Fine Arts, Boston, and is now on view at the Metropolitan Museum in New York.Winslow Homer’s Four Fishwives (1881) has also been illustrated in many books and catalogs on Homer’s art.

NEW PHOTOGRAPH AND PRINT STUDY ROOM When you visit campus, a stop on your tour should be the new C. Jane Hurley Wilson ’64 and Michael G. Wilson Photograph and Print Study Room, located in Baxter Hall, adjacent to the Gallery. This Room is a place where the collection is available for study to faculty, visiting scholars, students, and alumnae. Especially designed for classes focusing on the history and practice of printmaking and photography, the creation of this special space has been made possible by a generous gift from Jane and Michael Wilson. Fully climate-controlled and outfitted with archival storage for works on paper, the Study Room offers students an ideal place to closely examine photographs and prints. If you would like to view some of these works, call the new data specialist, Kristin Miller, at (909) 607-8090. She can help you browse the collection online or make an appointment to come to the study room.

Wilson interns Clare Heinzelman ’08 (left) and Maggie Tokuda Hall ’07, in the new C. Jane Hurley Wilson ’64 and Michael G. Wilson Photograph and Print Study Room. During the academic year, Wilson interns work on conservation and research projects for the Williamson Gallery.

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Mary Stevenson Cassatt (1844-1926) Smiling Sarah in Hat Trimmed with a Pansy, c. 1901 Oil on canvas Scripps College, Gift of General and Mrs. Edward Clinton Young, 1946

Born in Pittsburgh, Mary Cassatt spent much of her life in Paris, where she had the distinction of being the only American artist to exhibit with the Impressionists. Influenced by the art of Gustave Courbet, Edouard Manet, and Edgar Degas, Cassatt turned away from the mythical themes of the French Academy to embrace a new subject matter of modern life. Cassatt painted an intimate world of her family and friends, in particular, women and children. Smiling Sarah is one of more than 40 paintings, pastels and drawings she made of Sarah, the granddaughter of Emile Loubet, a former president of the French Republic. In addition to her achievements as a painter, Cassatt is also remembered for her encouragement of the American collection of French modernism. 262139_Scripps_14-37_r2.qxd 11/3/06 9:41 PM Page 18

Honoré Daumier (1808-1879) Emma…je vous aime! Lithograph Scripps College, Gift of Coila Jane Hurley Wilson ’64

Honoré Victorin Daumier was a 19th century political and social satirist known for his caricatures of political figures and members of French society. He paid a price for his political expression: his cartoons attacking King Louis-Philippe for the anti-government weekly La Caricature resulted in his imprisonment for six months. With political satire suppressed, in 1835 Daumier turned to satirizing social life prior to the French Revolution. After 1848, he once again was able to portray political subjects. Using the relatively new process of lithography, Daumier created more than 4,000 lithographs in his lifetime. However, his work was not well known until after his death; he died almost blind and nearly destitute. PHOTO: SUSAN EINSTEIN

Winslow Homer (1836-1910) Four Fishwives, 1881 Oil on canvas Scripps College, Gift of General and Mrs. Edward Clinton Young

Homer is one of the towering figures of American 19th-century art. Homer’s subject matter of the 1870s featured rural or idyllic scenes of farm life, children at play, and resort scenes peopled with fashionable women. A stay in England in 1881 to 1882, during which Homer lived in a fishing village, led him to change his focus to the sea, its fisherman, and their families. Four Fishwives, one of the best works of this period, shows the bustle of activity on the shore on England’s north coast when the fishermen came in and their robust young wives took up the night’s catch. 262139_Scripps_14-37_r2.qxd 11/3/06 9:41 PM Page 19 PHOTO: SUSAN EINSTEIN

Theodore Robinson (1852-1896) La Débâcle, 1892 Oil on canvas Scripps College, Gift of General and Mrs. Edward Clinton Young

Theodore Robinson was considered a pioneer of American impressionism. His La Débâcle (Marie at Little Bridge) shows a fashionably dressed young woman seated on the stone foundation of the bridge on the Epte River. She has apparently been interrupted by a person or incident (not shown). In her hand is the most recent novel by Emile Zola, La Débâcle, published that year, in 1892. The book tells of the defeat France suffered in the Franco-Prussian War of 1870; it is said that Marie had spurned Robinson’s proffers of love and was his own debacle. After 1892, Robinson left for New York City and never returned to France; La Débâcle was one of the paintings he took with him. A few years later, he died of an asthma attack at age 43. The painting has traveled on loan from the Scripps College Collection several times both nationally and internationally. 262139_Scripps_14-37_r2.qxd 11/3/06 9:41 PM Page 20

Studio Art Faculty The studio and art history faculty at Scripps have played key roles in building the Scripps art collection. For example, Millard Sheets, who led the early art department, arranged for Alfredo Ramos Martínez to paint the mural in Margaret Fowler Garden and brought the Young Collection to Scripps. Paul Soldner, who headed ceramics at Scripps from 1959-1991, persuaded the Marers to donate their collection to the College as a resource for the ceramics program. An important goal is to expand the College’s holdings of works by art faculty, including Emeritus Professors Jean Ames,Aldo Casanova, Paul Darrow, Phil Dike, Jim Fuller, Samella Lewis, Millard Sheets, Paul Soldner, and Hoppy Stewart, as well as current faculty.To that end,recently the Gallery acquired digital and photographic works by Professors Nancy Macko, who heads the digital art program, and Ken Gonzales-Day, who teaches photography and chairs the art department. Each year the Gallery plans to add work by additional studio faculty to the collection.

Teaching from the Collection Studio art and art history faculty are encouraged to use the collection in conjunction with their courses. No one features the collection more than Professor Bruce Coats, who has worked with students to organize many memorable exhibitions related to his courses in Asian art.

Hidden Treasures Now Visible: Current and Coming Exhibitions Like many museums, limited exhibition space means that much of the Scripps collection is in storage.While the eventual objective is to add another gallery devoted to the permanent collection, now the Gallery is making works more visible in a number of ways—in gallery exhibitions, online, and on display in a new Photograph and Print Study Room. The Gallery’s exhibition year opened with “Chikanobu: Modernity and Nostalgia in Japanese Prints,” the first comprehensive survey of the work of print artist Yoshu Chikanobu (1838-1912). From late August through mid-October, this exhibition presented 60 prints by one of the most popular Japanese print designers of the Meiji period (1868-1912). [See Bruce Coat’s article on Chikanobu, p. 12] The second fall exhibition, from November 4 – December 17, is “American Visions:Selections from the Young Collection of American Impressionist and Realist Paintings,” which celebrates the sixtieth anniversary of the gift of American paintings from General and Mrs. Edward Clinton Young.Millard Sheets, who built the early art department at Scripps, brought this important gift to campus.The display will highlight portraits and landscapes by many late 19th- and early 20th-century American masters, including Mary Stevenson Cassatt, Frederick Childe Hassam,Winslow Homer, Maurice Brazil Prendergast, and John Henry Twachtman.You also will see many of these works illustrated in the forthcoming 2007 Scripps College Calendar.

Browse Art Online If you cannot visit the Gallery, be sure to browse the Scripps art collection online, found on the Williamson Gallery page on the Scripps website or at http://web-kiosk.scrippscollege.edu. Former data specialist Krista Coquia electronically catalogued the Scripps collection to make it available online to students, faculty, and the worldwide public. Funded originally by a three-year grant from the Getty Foundation, and continued by President Nancy Bekavac, the project has documented more than 6,000 art works, including American paintings and works on paper,Western prints, Japanese prints, Chinese paintings, Chinese textiles, and international ceramics.View these and other works on the Gallery’s website; when you do, yours will be one of an average of 7,000 hits daily. Scholars across the world contact the Gallery for information on the collection, and this has helped raise the profile of the College internationally.A primary goal is to make the collection into an easy-to- use resource for teaching.To that end,students can create online exhibitions in preparation for special reports, which they can present in the College’s new “smart” classrooms.

Mary Davis MacNaughton (Ph.D. Columbia University) is director of the Ruth Chandler Williamson Gallery and associate professor of art history at Scripps.

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Julia Margaret Cameron (1815-1879) Left: Right: Thomas Carlyle, 1867 Sir John Herschel Albumen print Photogravure Scripps College, Gifts of Michael and Sharon Blasgen ’64

One of the bright stars of 19th-century photography, British photographer Julia Margaret Cameron was also an unlikely candidate for this role. Cameron began photography at age 49, after her children had grown up, when she received a camera as a gift from her daughter and son-in-law. Cameron created an extensive body of work, including fanciful subjects of costumed friends posed in literary tableaus, as well as large portrait heads of distinguished figures in Victorian letters and science. In these portraits of the famous essayist Thomas Carlyle (1795-1881) and astronomer Sir John Herschel (1792-1871), Cameron evokes their strength of character in dramatic contrasts of light and dark, which define their powerful features. Herschel was not only a pioneering figure in photography, (he invented the terms “photography,” “negative,” and “positive”) but also was a mentor for Cameron, who learned the technique of photography from him. Cameron’s soft focus came in part from the long sitting times required of the large glass-plate negatives and wet collodion process; but Cameron deliberately chose this approach to fuse her observation and imagination, what she called the “real and the ideal.”

RECENT GIFTS AND ACQUISITIONS This year, trustee Sharon Walter Blasgen ’64 and husband Michael Blasgen (HMC) generously donated twenty 19th- and 20th-century photographs to the Scripps collection. This thoughtful gift included works by leading women photographers of the 19th and 20th-century: Julia Margaret Cameron, Consuelo Kanaga, and Doris Ulmann, as well as photographs of women by photographers Mark Anthony, Henri Béchard, and Rudolf Eickemeyer, Jr. In the gift are extraordinary portraits of cul- tural figures: writer Baron Isadore Taylor by Nadar; essayist Thomas Carlyle and astronomer Sir John Herschel by Julia Margaret Cameron; and actress Lillian Gish by Doris Ulmann. Several turn-of-the- century motion studies by Eadweard Muybridge give insight into some of the precursors of motion pictures. Michael and Sharon Blasgen’s gift also includes examples of various types of photographic processes—albumen print, bromide print, collotype, cyanotype, photogravure, and gelatin silver print—which illustrate the technical history of photography. To enhance its collection of photographs, in the last few years the Gallery staff also has acquired selected works by such leading contemporary figures as American photographer Helen Levitt and Mexican photographer Graciela Iturbide.

Sharon and Michael Blasgen at home, in front of a Ruth Chandler Williamson Gallery poster, “Wild Flowers,” by Mark Anthony; the Blasgens donated the 1857 albumen print to Scripps.

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The Teachers Artists and art experts offer dynamic learning experiences

It’s one thing to learn photography from an academic Add to these offerings art history professors who who dabbles in the dark room on the weekend, it’s bring an understanding of art and its importance to another to be taught by a professor whose own work society through their own impressive scholarship. is displayed in some of the world’s leading galleries Result: a total of 404 students from The Claremont and collections. Scripps students get the latter. Colleges—287 from Scripps alone—enrolled in this “We respect diverse approaches to making art,” compelling mix of studio art and art history classes at says Susan Rankaitis, the Fletcher Jones Professor of Scripps during spring semester 2006. (Beginning in fall Studio Art. In the classroom, students are challenged 2006, the related disciplines became two distinct and inspired by renowned photographers, painters, departments.) mixed media artists, ceramists, and book artists. Scripps art and art history professors for the 2006- “Having faculty who are all exhibiting artists, but very 07 academic year are listed below, with just a sampling different from one another as artists and teachers, of their academic and creative work. In addition to creates a dynamic and positive learning experience,” teaching basic introductory courses in their fields, most says Rankaitis. regularly teach in the College’s Interdisciplinary Core It’s easy to see why a major in art is second only to Program in the Humanities. economics in popularity at Scripps.

ALAN BLIZZARD Art Faculty PROFESSOR OF ART Professor Blizzard has taught painting and drawing at KEN GONZALES-DAY Scripps College since 1963, and maintains studios in ASSOCIATE PROFESSOR OF ART, AND CHAIR, Claremont and Los Angeles for the production of his ART DEPARTMENT experimental paintings. With work represented in more Professor Gonzales-Day is an artist and writer whose than 200 public and private collections—including the academic focus is photography, art history, art theory, and Crocker Museum of Art, Sacramento; Metropolitan contemporary art. His photography has been shown in Museum of Art, New York; The Art Institute of Chicago; such venues as the Los Angeles County Museum of Art in Kouri Capital Corporation, NYC; Flour Corporation; Los Angeles, the New Museum of Contemporary Art in Ashland University; La Jolla Museum of Art, La Jolla, CA; New York, FotoFest in Houston, the Laguna Art Museum the Denver Art Museum; and Columbia University, in Laguna Beach, and the Museum of the City in Mexico University of Iowa, UCLA, Claremont Graduate University, City, among many others. and Scripps College—Blizzard’s primary goal of “making Gonzales-Day teaches beginning, intermediate, and magnificent paintings” has already been reached. advanced photography, in addition to “From Beauty to the This fall he teaches beginning, intermediate, and Abject: Whiteness, Race, and Modernism,” a course that advanced painting. highlights the intersection of modern and contemporary Ken Gonzales-Day art criticism with issues related to ADAM DAVIS social and cultural constructions of VISITING ASSISTANT PROFESSOR OF ART difference as manifested within the The newest professor to join the art faculty, Professor visual arts. Davis teaches beginning and advanced ceramics and (Read about Gonzales-Day’s Lynching in fundamentals of art. Working with diverse media, Davis the American West project on p. 32.) explores a wide variety of themes associated with body politics; he is currently exploring themes of masculinity

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“Listen carefully with your eyes and the painting will tell you all you would wish to know.” —Alan Blizzard, September 2006

and sexuality through a series of new works informed and inspired by the tale of John Henry. “I join a group of distinguished colleagues who are equally committed to building upon already-established strengths and exploring new directions in which we might grow,” said Davis. “Our interests are diverse, but I think we all use art to engage with the problems that define the 21st century—that is, we believe in its relevance.”

NANCY MACKO PROFESSOR OF ART; DIRECTOR, DIGITAL ART PROGRAM; AND CHAIR, GENDER AND WOMEN’S STUDIES

This semester, Professor Macko is not only teaching intro- duction to digital imaging—in which students learn the fundamentals of Photoshop and create original digital art work and a basic web site—but also a new Core III course: “Feminist Utopias in Women’s Science Fiction.” In the spring, she will teach “Intermediate Web Design,” “Moving Between Media,” and “Feminist Concepts and Strategies in Studio Art and Media Studies,” a seminar that analyzes work by feminist women artists in fine art and the media. Macko says her goal in the seminar is to

give the students “a sense of the historical legacy as they Alan Blizzard move into the future.” Student work from each of these You Had Lottsa and its ramifications. Each year 50 of the books are Money Back In 22 classes can be viewed at http://arthive.scrippscollege.edu. purchased by standing order patrons, with the rest Oil and Rhoplex on Macko’s own art will be featured in a survey exhibition Canvas and Wood sold to collectors. Collection of the at the Los Angeles Municipal Art Gallery from December Maryatt also teaches the Core III class, “From Crocker Museum of Art 15 - February 4. “Hive Universe: The Art of Nancy Macko, Materiality to Immateriality: the Coming of the Artists’ 1994-2006,” includes more than 60 works and two video Book,” in which students study the history of the book installations. Another show, “14 Printmakers/14 Years in order to understand the contemporary artists’ book Mahaffey Fine Art” is currently at the Portland Art Museum movement. They will make a clay tablet and papyrus through January 2007. scroll, sew a codex, make lacing on a binding, and print by letterpress, as well as write a catalog to accompany KITTY MARYATT an exhibition in the Clark Humanities Museum. DIRECTOR OF THE SCRIPPS COLLEGE PRESS AND Maryatt’s studio, Two Hands Press, is in Playa Vista, CA. ASSISTANT PROFESSOR OF ART

Kitty Maryatt ’66 teaches several classes this year while SUSAN RANKAITIS organizing events for the 65th anniversary of the founding THE FLETCHER JONES PROFESSOR OF STUDIO ART of the Scripps College Press. A renowned mixed-media artist, Rankaitis was described Each semester, Maryatt’s signature class, “Typography by art writer Suzanne Muchnic ’62 as someone who “has and the Book Arts,” guides students in producing limited used photographic materials and techniques for more edition letterpress books. Through collaboration, they than 20 years with the sensibility of a painter who isn’t develop text and original imagery, typeset with metal type, afraid to wander into the territory of sculpture.” print on letterpress equipment, and bind the 100-copy Such open-minded creativity infects her teaching as edition by hand. The subject of this fall’s book is power well. Of her “Introduction to Mixed Media Art,” she says,

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During Susan Rankaitis’s 2004-05 academic sabbatical, she served as a Borchard Foundation artist-scholar in residence at Château de la Flaherty Seminar, as well as various international venues. Bretesche in Missillac, France. In A book of essays, More Than Meets the Eye, will accom- spring 2005, she completed a large pany the complete series. art project at Europos Parkas, the Concurrently, “Call Me Sugar,” a feature-length dra- outdoor sculpture museum of central matic film about her mother, is in script development. The Europe in Vilnius, Lithuania. Her three-dimensional “Drawing in project has received funding from the Rockefeller Space” was a large-scale ephemeral Foundation, the California Community Foundation, and outdoor installation and a stretch the California Arts Council. from her usual mixed media pieces. During a normal year, Professor Tran teaches introduc- tion to video with a focus on history and theory, as well as intermediate and advanced video, where students “I am constantly reworking the structure and assignments to develop digital projects and begin to create motion graph- include new themes and approaches to beginning levels ics for video. She also teaches advanced web projects, of combined media art making. I try to keep costs down introduction to media studies, and a Core III class, for the students by use of many alternative art materials, “Women, Work, and Media,” which examines a variety of such as cut tree branches, old clothes, or just about media sources covering women and labor issues to see anything that is portable and not dangerous or illegal. A how women’s work and the labor movement are framed. friend of the College is donating some small glass yogurt “Ultimately,” says Tran, “I am teaching students to bottles for a project titled ‘Identity in Small Space,’ while become artists as well as contributors to culture and last year a Scripps dad sent a hundred small plastic trays society at large.” from his medical practice.” Rankaitis’s fall senior seminar requires that fourth-year art majors do a project and a related research paper. One noteworthy aspect of this class is that art faculty volunteer to mentor seniors and serve as first reader for their Art History Faculty papers; as a result, at least two Scripps art professors are BRUCE A. COATS deeply involved with each senior’s work. Near the end of PROFESSOR OF ART HISTORY, AND CHAIR, the semester, faculty assess and critique the projects and ART HISTORY DEPARTMENT vote on which students may, if they choose, advance to the spring senior seminar, which culminates in the Senior As Scripps’ Asian art expert, Professor Coats is the force Art Exhibition in the Williamson Gallery in late April. behind the fascinating early fall exhibition on the work of 19th-century Japanese wood block print artist Chikanobu (Read what one past student wrote about Susan Rankaitis in Alumnae Speak, p. 40.) at the Ruth Williamson Gallery, now traveling across the nation and eventually to Japan. Coats curated the exhibition and wrote the catalog. T. KIM-TRANG TRAN He teaches a seminar this fall titled “Topics in Asian ASSOCIATE PROFESSOR OF MEDIA STUDIES Arts,” which focuses on the Meiji Period (1868-1912) arts On sabbatical this fall, Professor Tran is in the midst of of Japan, using the exhibitions at the Williamson Gallery completing the last in a series of eight video tapes investi- and the Clark Humanities Museum for “looking assign- gating blindness and its metaphors, aptly named the ments.” Coats believes that viewing original works of art is Blindness Series. This epilogue, titled “The Palpable an important way to understand what an artist is trying to Invisibility of Life,” say and how that communication is accomplished. In T. Kim-Trang Tran addresses the visible spring, students in his seminar “Arts of Late Imperial and invisible and marks China” will create an exhibition for the Clark Museum the end of a 14-year using objects from the Scripps College collections. The project. Individual lower division survey, “Monuments of Asia,” will have stu- tapes in the series dents visiting the Norton Simon Museum in Pasadena and have been screened at the Los Angeles County Museum of Art to see examples MoMA, the Whitney of Buddhist, Hindu, and Islamic arts. “The History of Biennial, and the Gardens, East and West” will have looking assignments at

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the Huntington Gardens in San Marino, the Los Angeles This spring, MacNaughton will teach “Artistic Arboretum, Rancho Santa Ana Botanic Garden, and the Intersections: Dada and Surrealism,” a seminar that Pacific Asia Museum in Pasadena. examines two of the most important artistic movements of the 20th century in terms of their many interconnections. (Read Coats’ story of how Scripps came to acquire the Chikanobu prints, on p. 12) Students will explore the political and aesthetic origins of Dada, an international movement that emerged in reaction JULIET KOSS to World War I, as well an analyze the work of artists who ASSISTANT PROFESSOR OF ART HISTORY bridged Dada and Surrealism; then, they will see how Surrealism subsumed Dada in Paris in the twenties. Professor Koss’s courses at Scripps often revolve around MacNaughton has published several articles this year, her current research; this year several essays related to including “Caro and Clay,” Clay in Art International (spring her teaching were published in The Art Bulletin and 2006); “Bees, Stars and Beyond,” The Hive Universe: The Centropa: The Journal of Central European Architecture; Art of Nancy Macko, 1994-2006 (Los Angeles Municipal she had the cover essay in Bauhaus Culture: From Art Gallery, 2006); and “Stoneware and Steel: Anthony Weimar to the Cold War (ed. K. James-Chakraborty; Caro’s Kenwood Series,” Ceramics: Art and Perception Minneapolis, 2006). (winter 2006). While on sabbatical last spring, Koss submitted the manuscript of her first book, Modernism After Wagner, and co-organized a symposium on the pho- tomontages of John Heartfield at the Getty Research Institute, where she presented a paper titled “Radical Gesamtkunstwerk.” Professor Koss’s three courses this fall are: a survey course on Modernism (1840-1940) from the early years of photography to surrealist film; a seminar on the visual arts, architecture, film, and literature to explore selected 19th and 20th-cen- tury representations of major world cities; and a seminar on Russian and Soviet avant-garde art from the early 20th century. Oriented primarily around films, texts, digital images, and old-fash- ioned slides, her courses include field trips outside Claremont. During the spring, Koss will teach two courses, including a Core II course on nationalism and culture, in conjunction with Professor YouYoung Kang in the Music Department. Koss is accompanying the Scripps College Alumnae Trip to Tuscany in November to present two lectures on Renaissance art and architecture.

MARY DAVIS MACNAUGHTON ’70 DIRECTOR, RUTH CHANDLER WILLIAMSON GALLERY; ASSOCIATE PROFESSOR OF ART HISTORY

Directing the gallery and overseeing its collec- tions, acquisitions, and exhibitions is a full-time job for most people. Mary MacNaughton also teaches; in addition, for several years she was Nancy Macko president of Art Table, a national organization for Cornucopia professional women in leadership positions in Aquatint, Spit Bite and Etching the visual arts.

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The Visionaries Scripps alumnaeV make their mark in all c

SO MANY SCRIPPS ALUMNAE ARE DOING SOMETHING INTERESTING IN THE VISUAL ARTS, something challenging, something that makes a difference.With too many to summarize neatly, I’ll begin with a November 1989 memory. The art market was at its peak and I was in New York covering record-breaking auctions for the Los Angeles Times. Meanwhile, in Washington, D.C., a controversy was raging about federal funding of the arts. The same week that publishing magnate Walter Annenberg plunked down $40.7 million for a Picasso, and film director Billy Wilder cashed in on his modern art collection for $32.6 million, elected officials debated the propriety of allocating relatively tiny amounts of tax dollars to projects that some deemed objectionable. One of the offenders was an AIDS-related exhibition that had won a $10,000 grant from the National Endowment for the Arts. Since I was already in New York,my editor asked me to report on the show, just before it opened at Artists Space. I made arrangements and arrived early the following morning at the nonprofit organization’s bare-boned quarters in the TriBeCa district.As I sat on the front steps, agonizing over impending deadlines, the curator of Artists Space appeared.“Hi, Suzanne,” she said.“I’m Connie Butler. I went to Scripps, too.” A decade later, after Connie ’84 had joined the staff of the Museum of Contemporary Art in Los Angeles, I had a Scripps moment at the 1999 Venice Biennale.After attending an island party for artist Ann Hamilton, whose ethereal installation of cascading pink powder and whispered sound filled the American Pavilion, I boarded a boat back to Venice. Suddenly, there was Elizabeth Turk ’83, a gifted sculptor whose career was about to take off.Then I discovered that Lilli-Mari Andresen ’92 had coordinated the Hamilton project while working at a New York gallery. In the art world, Scripps is everywhere. Elizabeth Leach ’79 has a contemporary art gallery in Portland.The writings of Leah Ollman ’83 appear regularly in the New York-based magazine Art in America, as well as the Los Angeles Times [and this magazine, p. 36]. Sarah Schmerl ’62 leads plein air painting classes at various sites in Europe.Victoria Huang ’96 is an assistant curator at the Singapore Art Museum.Yoshiko Shimada ’83 has made a mark for herself in her native Japan with a controversial body of work examining the role and responsibilities of Japanese women during World War II. Lisa Adams ’77 is best known as a Los Angeles painter, but she is working on a public project at a fire station in Watts and has done residencies in Slovenia, Finland, and Japan. Still, the Scripps factor is most evident in Southern California.Among a stellar group of curators, Diana C. du Pont ’75, curator of 20th-century art at the Santa Barbara Museum of Art, has co-organized a major retrospective of Rufino Tamayo’s painting that will open this fall at the Museo Tamayo Arte Contemporaneo in Mexico City and travel to Santa Barbara and Miami. Polly Roberts ’81, an African-art specialist who is deputy director and chief curator of the UCLA Fowler Museum of Cultural History, has pulled 250 of the best works from the museum’s vast collections for a new installation,“Intersections:World Arts, Local Lives,” which opened September 30.

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l corners of the art world. By Suzanne Muchnic ’62

Joanne Heyler ’86 is director and chief curator of the Broad Art Foundation, one of the world’s leading— and constantly growing—collections of contemporary art.The astonishingly versatile Jennifer Wells Green ’84 has held curatorial positions at the Museum of Modern Art and the PaineWebber Art Collection and administrative posts at Citibank’s Art Advisory Services and the executive search firm of Heidrick & Struggles. She is now director of development at the UCLA Hammer Museum, home of a critically acclaimed contemporary art program. And that brings us to artists.A 2004 Hammer show praised by the Los Angeles Times as “an enchanting won- derland of visual delight and sensual savvy” featured labor-intensive visual poetry by Pae White ’85. Using nothing more than crisply cut bits of colored paper strung on thread, she transformed the austere museum lobby into a mesmerizing environment, describing it as “a flurry of color and gentle movement, suspended for contemplation.” As might be expected, artists schooled at Scripps have found many sources of inspiration and traveled diverse directions. Ruth Andersson May ’40 has pursued botanical art. Idelle Weber ’54, whose paintings are in the collections of major museums nationwide, has viewed nature through a highly personal filter.The paintings of the late Susan Hertel ’52 reflect her joy in the simple pleasures of home, family, and a menagerie of animals. Betty Davenport Ford ’46, known for sculptures of animals and figures, has fulfilled commissions for residences, churches, and banks throughout Southern California. The life of an artist is never easy, and women often face additional challenges, but many Scripps alumnae have excelled. Laurie Brown ’59 established herself as a photographer to be reckoned with when the art world’s embrace of the field was still tentative. Regula Campbell ’69 has distinguished herself in architecture and landscape design,Angela de Mott ’71 in ceramics, Christina McPhee ’76 in new media.Amy Ellingson ’86 and Jane Park Wells ’93 have instilled abstract painting with fresh energy and vision. Mary Davis MacNaughton ’70 But no one embodies the full range of Scripps ideals better than Mary Davis MacNaughton ’70 (PhD, art history, Columbia University). An associate professor of art history at Scripps and director of the Ruth Chandler Williamson Gallery, she is a scholar, teacher, curator, writer, and a model of what can happen when intellectual curiosity is packaged with social responsibility and imagina- tion. She has headed Art Table, a national organization of women in the visual arts, and she constantly mentors students who fondly call her “the network queen.” It’s often said that you can’t leave Mary’s office without being given two networking phone numbers. Every summer when I meet a new crop of Scripps’ Getty interns under her tutelage, I see the future, and it looks very good.

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Five women exemplify the wide range of Scripps alumnae who contribute to the art world.

Susan Ball ’69 SArt Historian/Administrator

When she left Scripps, Susan seemed to be headed for a career in academia, probably teaching art history at a university, doing research on modern artists and producing an impressive list of publications. She earned her MA degree in art history at UC Riverside and her PhD in art history and architecture at Yale University. Her research and dissertation on French painter Amédée Ozenfant led to the book Ozenfant and Purism:The Evolution of a Style, published in 1981. But Susan also had a talent for administration and business.As her professional life evolved, she began to see possibilities for using her knowledge of art in a broader arena. She has taught art history at the University of Delaware and New York University, but she also has directed government and foundation affairs at the Art Institute of Chicago, completed two years of courses toward an MBA with a concentration in non-profit management at the University of Chicago Business School, and worked as a research associate at the Real Estate Board of New York. In 1986, she landed a job that seemed tailor-made for her range of skills and interests. She became executive director of the College Art Association, the nation’s largest organization dedicated to providing professional services and resources for artists, art historians, and students in the visual arts.Activities go on year round, but

Susan Ball ’69 attendance at CAA’s annual meeting is almost obligatory for anyone wanting to take the pulse of the field. Thousands of members gather each year in the dead of winter at a designated city, where scholars deliver papers, artists and curators pontificate in panel discussions, prospective employees and employers get together, advocacy groups strategize, art publishers display their wares, and local museums host exhibition openings and receptions. In a special session, awards are presented for scholarship, teaching, publishing, and criticism. In October 2005, after almost 20 years at the helm, Susan announced plans to retire a few months later. She had joined CAA in 1972 as a graduate student and had no desire to sever her relations with the organization, but it was time to move on. Looking back at what had been achieved during her tenure, she saw an association that had grown from 6,000 to 14,000 in membership, from six to 30 in staff, and from $750,000 to $4 million in budget. CAA also had strengthened its leadership in issues of advocacy, arts funding, freedom of expression, employment, and copyright. Stepping down from her position gave her chance to pursue a project that she had been thinking about for several years, a history of CAA. She will spend the next two years as director of CAA’s Centennial Book Project, to be published in 2011, the organization’s 100th birthday.

Lilli-Mari Andresen ’92 LContemporary Art Appraiser

Lilli-Mari began her career as an intern at the Newport Harbor Art Museum (now the Orange County Museum of Art) and continued her formal education at Sotheby’s Institute of Art, London. She wrote a thesis on “The Impact of Diminished Government Funding on Contemporary Visual Art in Manhattan” and received her MA in 1995. During the next five years she immersed herself in the New York art scene, working with a broad historical spectrum of art at Richard L. Feigen & Co. and then concentrating on contemporary work as associate director of the Sean Kelly Gallery, where she coordinated major projects for prominent figures including Laurie Anderson,Ann Hamilton and Lorna Simpson. For one exhibition,“Marcel Duchamp/Man Ray: 50 Years of Alchemy,” she processed loan requests, provenance research, essays, and catalogue entries for the artists’ works. Lilli-Mari returned to Southern California in 2000 to direct Angles Gallery in Santa Monica. She managed exhibitions and sales for 19 artists and supervised the gallery’s participation at two art fairs,Art Basel in Switzerland and the Armory Fair in New York.She also lectured on the contemporary art market at Southern California colleges and universities including UC Santa Barbara, Cal State Long Beach and Art Center College of Design.

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By 2003, Lilli-Mari had compiled an impressive résumé.As she pondered her next step, she faced a choice. Should she open her own gallery, making a round-the-clock commitment that would involve financial risk and lots of travel, or take a path that would lead to a family-com- patible, flexible schedule? She decided to use her knowledge of art and the market to become an appraiser. Now, after completing course work and receiving a certificate in appraisal studies at UC Irvine, she has two jobs: caring for her baby daughter and working with Jacqueline Silverman & Associates in Los Angeles to accrue the 4,000 hours of appraising required for full accreditation with the American Society of Appraisers. “I love the truth in it,” she said of her new profession. Unlike the free-wheeling world of contemporary art dealing, appraising is strictly regulated. Still, determining the value of contemporary art, which may consist of an idea or a transitory form, is a challenge.As the market has surged over the last decade, values have soared and fallen quickly. But most collectors call an appraiser when their property must be sold or divided, not to make a quick profit. “Appraisals are often done at unhappy times,” Lilli-Mari said,“but I think having a professional job done can provide some solace.”

Lilli-Mari Andresen ’92 Cornelia H. Butler ’84 CCurator

Connie became involved in curatorial work in her undergraduate days and saw her future, but she couldn’t have imagined all the opportunities and challenges that lay ahead.Twenty-two years after her graduation from Scripps, she has arrived at the Museum of Modern Art in New York,the world’s foremost repository and showcase of 20th-century art, as the chief curator of drawings. She spent her first post-Scripps years earning an MA in art history at UC Berkeley and gaining curatorial experience at the Des Moines Arts Center in Iowa,Artists Space in New York,and the Neuberger Museum of Art at Purchase College, State University of New York,in Westchester County. In 1996, she returned to California and moved into a much more prominent position as a curator at the young and vibrant Museum of Contemporary Art in downtown Los Angeles. Although most of her MOCA colleagues did not specialize, Connie was hired to oversee the Marcia Simon Weisman collection of works on paper and a related study center, which opened in 1998.That gave her an opportunity to gain considerable expertise in contemporary drawings (a field that is often overlooked but represents the heart and soul of much contemporary art practice), while organizing and co-organizing a wide variety of exhibitions. One of her drawing shows,“Afterimage: Drawing Through Process,” is remembered as a particularly creative, open-ended approach to art making. It was a surprise hit with continuing reverberations, but she also has won praise for her efforts in major exhibi- tions on single artists, including earth artist Robert Smithson, video artist Rodney Graham, and abstract expressionist painter Willem de Kooning. Last fall, when MoMA appointed Connie the Robert Lehman Foundation Chief Curator of Drawings, she was hard at work on “WACK! Art and the Feminist Revolution,” an eagerly awaited international survey of 1970s feminist art.The show will go on, opening in March 2007 at MOCA and traveling to four other venues. So will two other projects begun in Los Angeles, exhibitions featuring the work of painter Marlene Dumas and conceptual artist Dan Graham. “I feel that I am coming in on a wave of change,” Connie said of her new position in New York.Always under an international spotlight, the Museum of Modern Art is still settling into its recently remodeled and expanded building—and enduring a considerable amount of criticism. It’s a time of transition for the staff too, including a changing of the guard among curators.The big question facing the museum is not new, she said, but it bears repeating:“How does the premiere museum of modern art deal with contemporary art? The museum has been dealing with it, but as we go forward, that’s still the question.”

Cornelia H. Butler ’84

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Alison Saar ’78 ArtistA

Born into an artistic family,Alison has benefited from a nurturing environment and emerged naturally from the shadows of her renowned mother Betye Saar. With an MFA degree from Otis Art Institute (now Otis College of Art and Design) and a long list of exhibitions, public commissions, museum acquisitions, awards and grants,Alison is a powerful aesthetic voice and prominent figure in the national art scene. Her reputation is based on a poignantly expressive body of sculpture that explores the troubled history and spiritual strength of African- American women. Facts, memories, dreams, and fantasies merge in narrative works that have an undeniable physical presence and an unforgettable aura. Her bold, archetypal figures are rooted in youthful contact with a global array of artworks treated by her artist/conservator father Richard Saar and her study of black visual traditions at Scripps with art historian Samella Lewis. As Alison found her own voice and perfected her skills in assemblage, wood carving, and bronze casting, she won residences at the Studio Museum in Harlem and the Washington Project for the Arts in Washington, D.C., and received fellowships from the National Endowment for the Arts and the John Simon Guggenheim Memorial Foundation. Last spring, she announced her affiliation with L.A. Louver, a prestigious Alison Saar ’78 gallery in Venice, California, with “Coup,” a breathtaking exhibition of sculptures and drawings.The title piece was a mixed-media sculpture of a woman seated on a straight chair, her long hair forming a rope attached to a pile of old suitcases behind her.Apparently ready to sever herself from past bondage, the woman holds a large pair of scissors on her lap. In “Cache,” another striking piece, a nude woman lies on the floor, her hair flowing into an enormous ball that seems to encapsulate her personal history. One important component of Alison’s exhibition list is a family affair. In 1990-91, UCLA presented a joint retrospective of works by Betye and Alison.This past summer, the Pasadena Museum of California Art offered a large show of works by Betye,Alison and her sister, Lezley, addressing their relationship, multi-racial heritage, and affinities to African cultures. Alison also has landed commissions for large public projects in Sacramento, Los Angeles, Chicago, and New York.One complicated piece, still in the works, is a 10-foot-tall figure of abolitionist Harriet Tubman to be cast in bronze and installed next spring in New York,in a triangular park bounded by W.122nd Street, Frederick Douglass Boulevard, and St. Nicholas Avenue. Picking through the bureaucracy of publicly funded projects is often an “intense” experience, she said, and that’s certainly the case with “Harriet Tubman.”“It’s in a street, over a subway, on a park,” she said.“I think I had to talk to every commission in New York City.” An exhibition at the Delaware Center of Contemporary Arts, featuring 20 of Saar’s prints, will open April 20, 2007, and will run until August 2007.

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Ariana Makau ’93 AStained Glass Conservator

Ariana’s interest in stained glass was sparked in Paris, where she took her first class in the subject during her junior year abroad. Unlike tourists who become enchanted with cathedral windows at Sainte-Chapelle or Notre Dame de Paris but soon move on to the next attraction, she had a life-changing experience.When she returned to Scripps, she created a life-size self-portrait in stained glass, merging her image with the venerable art form. After graduating from Scripps,Ariana took a summer internship in the antiquities conservation department at the J. Paul Getty Museum in Los Angeles.The program appealed because it would offer an inside view of many career possibilities, but she saw that conservation—requiring knowledge of art, science, and history— would suit her best.With a scholarship from the Getty Trust, she enrolled in a three-year conservation program at the Victoria & Albert Museum/Royal College of Art in London. In 1997,Ariana graduated as the first woman and second person in the world to receive a master’s degree in stained glass conservation. She also acquired a new name, Nzilani, from her father. In his native culture, the Kamba people of Kenya, children are named at birth and again when they have found their life’s work. Eventually, his daughter would bestow her new name (her Kenyan grandmother’s name) on her business. Although her specialty might seem too rarefied to be practical,Ariana’s services are in great demand. In 1998, after taking a year of advanced training in conservation at the Metropolitan Museum of Art in New York, she returned to the West Coast and settled in the Bay Area. She worked for a studio that restored windows of Grace Cathedral in San Francisco and took on independent conservation projects on the side. Ariana Makau ’93 In January 2003, she established Nzilani Glass Conservation as a full- time business in Berkeley.Three years later the studio became a limited liability company. Providing window removal, restoration, and reinstallation services, the firm specializes in conservation surveys. Recently,Ariana and her crew completed the conservation of a 34-panel lay-light for the historic Pacific-Union Club in San Francisco. Nzilani also has established itself as a company that is equally adept at working on a project management team with a large construction company, as in a 76-window survey for Old St. Mary’s Cathedral in San Francisco and subsequent conservation work there. Under the auspices of Architectural Resources Group, Nzilani has completed surveys for the Olympic Club in San Francisco and a historic church in Santa Rosa. Maintaining a balance of big and small projects and offering personal service to individual clients,Ariana is still developing her career, but in one respect her journey has come full circle.The J. Paul Getty Museum, which has many stained glass works in its collection, is among Nzilani’s clients.

Suzanne Ely Muchnic is an art writer for the Los Angeles Times and author of Odd Man In, a biography of Norton Simon. PHOTO: ALEX FARNUM

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The Last Witnesses The photographs show centuries-old California oak trees, majestic and gnarled, in some cases downright haunting. “Beautiful,” Ken Gonzales- Day’s mother proclaimed when she first saw them. “Now what are they really about?” She knew that her son’s artwork typically addressed weighty issues of race, culture, identity, or sexuality.

by Margaret Nilsson

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THE IMAGES ON THESE PAGES ARE FROM THE SERIES “Searching for California’s Hang Trees,” part of Ken Gonzales-Day’s five-year study of lynch- ing in the West. Chair of the Department of Art and associate professor at Scripps, Gonzales-Day began his last sabbatical by examining historical records and photographs of Latinos in mid-19th century California. What he discovered through his meticulous research was a little-known pattern of racially motivated lynchings in the West beginning in early California statehood and ending with the last recorded lynching in 1935. The number of such lynchings was previously recorded as 50; Gonzales-Day documented 252 instances of lynching—perpetrated largely against Latinos, Native Americans, and Asian Americans. Armed with historical records, Gonzales-Day embarked on a road trip to find California’s hang trees—what he calls “the last witnesses” to the practice of lynching in the West. The records provided clues about the locations of hanging sites—proximity to a river, town square, a court house—enabling Gonzales-Day to locate and photograph the actual or likely trees. Some of the remaining trees are in rural areas of California; others abut modern office buildings or railroad tracks. A number of the photographs, taken with a large-format Deardorff camera, appear in Lynching in the West 1850-1935 (Duke University Press, 2006), Gonzales-Day’s groundbreaking book.

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“Standing at these sites, even the most beautiful landscape is undone.”

“I retraced the steps of the lynch mob and vigilance committee and these photographs became an irrefutable record of my journey. Standing at these sites, even the most beautiful landscape is undone,” explains Gonzales-Day. As part of the Lynching in the West project, Gonzales-Day provides on his website an alternative walking tour of Los Angeles, one in which a trip beginning at Union Station and ending on Olvera Street revisits sites of 19th-century lynchings. Though not previously part of the historical consciousness, these execu- tions, at the time they took place, were sometimes documented in the form of picture postcards of the lynched subject that were collected in albums. Gonzales-Day photographed the souvenir postcards, digitally erasing the victim and the rope, but leaving the site—usually a tree—and the lynch mob, his artistic statement about the historical erasure of this dismal past. Gonzales-Day’s Lynching in the West project, an important contribution to the knowledge in the field, was on exhibition in London at the Thomas Dane Gallery, in New York at the Cue Art Foundation, and at the Pomona College Museum of Art in Claremont this fall. Sometimes a tree is not just a tree, and a landscape photograph is something else entirely. Gonzales-Day’s photographs, book, and exhibitions dramatically bring to light a forgotten chapter in California history.

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the Moment

There is a strange, solemn, silent, graceless Gayety in their dancing, the dancing of the young Ladies of Philadelphia in the anxious Saffron light of Eakins’s photograph; There in the nineteenth century, dressed in their ‘Grecian’ Long white dresses, so many years ago, They are dancing or standing still before the camera, Selfhood altered to an alien poetry, THOUGHTS ON The flowers in their hair already fading;…

THE INTERSECTION David Ferry’s poem and Thomas Eakins’s photograph exemplify the shared territory of photography and poetry. At left, Eakins’s untitled photograph of the young ladies of Philadelphia dancing (1880-82, from the Joseph H. Hirshhorn OF PHOTOGRAPHY Collection, New York); above, excerpt from Ferry’s “Photographs from a Book, Six Poems,” from Strangers (University of Chicago Press, 1983). AND POETRY

SO OFTEN IN WRITING ABOUT PHOTOGRAPHY,I have described Poetry emits the same deliciously mixed signals; it refutes the a work as poetic.This talk was born out of challenging myself to same kind of succinct summation that it itself can be so good at. figure out what, after all, I mean by that. Is there more to it than The poetry I’m interested in addressing here is lyric.The poems are innocuous generalization? musical, brief, based on incident or impression, unlike the ballad or Likewise, in reading poetry, especially contemporary poetry, often narrative, which might more commonly be filled with events or an image or experience is conjured that feels photographic, like a slice storytelling.The narrative and the ballad might bear comparison to snatched from the continuum. It’s easy to tag those sensations with a film, but the concentrated quality of the lyric poem relates to the still single word. Is that gratuitous? Or is there more to it? photograph in its approach to time, moment, and space. I realize that it’s as foolhardy to generalize about poetry as it is The reciprocity between painting and poetry has run high at about photography, since each can assume so many different forms. least since Horace declared them sister arts: as in painting, so in Each has a multiplicitous nature, and like any medium, resists a poetry. It was common among the Pre-Raphaelites, for instance, to singular definition. Photography is said to be a slice of reality, a work in both and to stage dialogues between works in the different distortion of reality; a moment petrified, a moment prolonged; a way forms. Photography’s history is obviously not as long as painting’s, and of freezing time, a way of slowing time; a means of devouring time there are fewer examples of poems and photographs made to speak to and honoring time, defying it and yet succumbing to it. Is a photo- one another. Not enough examples, probably, to call them sister arts. graph a moment embalmed, or a moment revivified? Does the But another sort of kinship seems to be at work. photographic act clarify or does it complicate?

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by Leah Ollman ’83 Excerpt from a talk delivered at the Tuesday Noon Academy, Malott Commons t March 21, 2006

A poem can get to the heart of a photograph by a different route Both photography and poetry engage the fugitive, the fleeting.As than any other more expository form of writing, and there’s some- the artist Chuck Close describes it,“Paintings exist in novelistic time, thing reciprocal happening there, too.When photographs and text and photographs, because they are instantaneous, exist more in poetic appear together in the press or in documentary works, conventionally time.”The photographer and writer Wright Morris referred to snap- one of the forms is primary and the other subordinate.There are shots as “time’s confetti.” How much alike poems and photographs exceptions, of course, but in general, text captions the image or the can feel, both of them concise slivers of the whole, blinks of time and photograph illustrates the text.Words explain, images verify. sensation. How they draw upon and feed into memory, too, is alike. When photography and poetry are joined, the balance of power Both are born of the private and the immediate. usually follows a different model. Both forms occupy common, shared The act of making a photograph has been commonly likened to territory, neither dominating the other.That shared territory has more the act of pointing. Poems, too, according to a definition from W.S. to do with evocation and sensation than verification and explanation. Merwin, are a form of attention. Recognizing something particular There is much solid evidence of intersection—poets writing in in a moment and seizing it. Photographs and poems both extrapolate response to particular photographs, photographers catalyzed by from the act of witnessing.They derive from discovery and recogni- certain bodies of poetry—but also something more, indicating a tion, often working on the plane of the everyday and familiar. deeper resonance between the two media. In an introduction to his book Breathing Room (2000), Peter To start with, photography’s own etymology connects it to Davison summarizes well some of the affinities between poems and writing: photography literally means writing with light.A great many photographs. He says he was tempted to call his poems audiographs, poems focus on light and time, photography’s two essential ingredi- “since, like photographs, each is of a particular dimension and utilizes ents. Illumination is at the heart of both enterprises, the illumination the same aesthetic...each is intended to evoke a mood, a scene, an of something evanescent, intense, fleeting. enigma, the unfolding of a metaphor, the entrapment of an idea, in Poetry and photography also share terminology that derives, I a space or shape that will contain it without killing it.” believe, from deep affinities in their relationships toward space, time, Wright Morris, photographer and writer, maker of books that and the specific moment. combine his work in both fields, describes his working practice, when The words stanza and camera both mean chamber in Italian. writing, as photographic, having to do with an eye for detail and for Both the stanza and the camera are means of enclosure, of framing, the moment arrested:“I do not give up the camera eye when I am articulation of one space or view apart from the rest. Both the stanza writing—merely the camera.” and camera act to isolate and contain within a defined space: the frame; Both photography and poetry are practices, but the photographic the walls; the limits of the text. Both inscribe as well as circumscribe. and the poetic are also catchall terms for manners of experience that The photograph, like the poem, is a contraction of experience.The feel closely related, having to do with distillation, concentration, world in a room. Its nature is defined by abbreviation and distillation. density, concision, compression, the evocative and singular. In both the lyric poem and the image defined by the camera, The singular eye of the photographer is akin to the singular voice the walls of that chamber are key.The edges are always acknowledged, of the poet. (By contrast, think of the multiple viewpoints assumed the boundaries kept within sight. In photography, especially, there is by a film director, or the multiple voices channeled by a novelist.) a heightened consciousness of edges.The edge, the wall, edits out A photograph is an exposure—of the scene before the lens, and the all else outside of it.This sounds self-evident, but isn’t true of other photographer’s take on that scene. Perhaps poems are exposures of media, such as painting.The world of a painting is self-contained a similar nature. within the work.With photographs, generally, the world continues Where, then, do photography and poetry intersect? How do beyond that frame, so where those edges are imposed is all-important. they relate to one another? Maybe not as sister arts, but perhaps as In poems, too, brevity is implicit and lines break with intention, soul-mates, resonating on a deep level when apart, and when relating to breath, rhythm, pacing.And to the visual presence of together, always keeping each other’s best interest at heart. the words on the page.

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alumnæNEWS

FROM THE PRESIDENT LEADERSHIP. A word very much on my A FEW QUESTIONS FOR ALUMNAE Dear Alumnae and Friends mind, of late.The always-inspiring Scripps TO PONDER: Are you as connected to College Volunteer Leadership Conference held Scripps College as you could or should be? If of Scripps College: on campus in July; the remarkable initiative and not, please think about what might help you some awesome achievements in community feel a greater connection to the College. HUMBLED. service mark our current students as leaders; the • What does Scripps do well? HONORED. way that so many of our alumnae—including • In what areas does Scripps need to improve Those are just recent graduates—step up to the plate to be or focus additional resources? two of my feel- involved in a variety of alumnae activities, • What types of programs and events would ings about having including heading up key Alumnae Council you like to see in your region? been asked to committees; that’s leadership, ladies, and I thank serve as Alumnae you very much! YOUR IDEAS AND OPINIONS Association The Scripps College Alumnae Association MATTER. Please feel free to share your president. Scripps has convened a small working group to thoughts with me at [email protected] College has identify key strategic themes and goals for scollege.edu. Better still, complete online the always held a the Association’s long-range planning efforts Alumnae Association’s long-range plan survey huge place in in tandem with the College’s own strategic/ you will be receiving in your mailboxes this fall at my heart—the people, the place, the wonderful institutional planning efforts.A key component www.surveymonkey.com/s.asp?u777932345146. opportunities it provides to students and alumnae of identifying the important issues that face the for learning, growth, and new experiences. Association today is the wisdom and perspective To respond to my alma mater’s request to of Scripps alumnae: you.Your insight and ideas serve in this new capacity is a challenge too will help us to better understand how we may special to pass up.This position provides best serve our alumnae and continue to ensure opportunities to: Lori Steere ’66 that the Association is relevant to current and President • continue to give back in ways that are useful future alumnae. to Scripps; • stay connected to Scripps; • develop new professional and personal skills; • provide leadership.

CAMP SCRIPPS • June 21-24, 2007

If you haven’t tried camp, what are you waiting for? In June 2006, a record 100 campers enjoyed four relaxing, fun-filled days on campus—with extra features this year that Since 1993, more and included lunch with Scripps College Summer Academy high school students and their Scripps professors and a visit to famed more women are woodworker Sam Maloof’s museum and gardens, with a chance finding out that to talk to the artist himself. And, of course, there were the usual lively and creative activi- Camp Scripps is one ties that encouraged campers to play and learn together, all within the Camp Scripps motto: “Everything possible, nothing required.” of the most body, Join an amazing group of women on June 21-24, 2007, and mind, and soul learn why Camp Scripps is a life adventure not to be missed. This year, for the first time, a drawing will be held to award refreshing experiences three full-registration “camperships” to those who would otherwise offered exclusively to be unable to afford Camp Scripps. For more information, please contact Kymberli Colbourne ’90 at [email protected]. or visit Scripps alumnae. www.scrippscollege.edu/dept/alumnae/camp/index.html. []

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VOY! Remarks by Diana L. Ho ’71 at the Volunteer Leadership Conference, July 22, after receiving the Scripps Volunteer of the Year award for 2006.

I AM A BELIEVER in what I call “relationship currency.”That is, that people “stay in relationships” as long as their currency—what they “give” and what they “get”—is in balance.The most obvious kind of currency is what you get paid in exchange for doing your job. But in both the work world and the world of volunteerism, there are other kinds of currency. There are things beside money that we “get” that will “keep us in the game.” If we in this room articulate what we “get” out of volunteering at Scripps, we can begin to understand that currency comes in many forms: From left, Mary Fraser Weis ’66, Diana L. Ho ’71, and Courtney Mayeda ’03 at the supporting an institution that we believe in, connecting with old friends Volunteer Leadership Conference, in front of a tapestry by Susan Hertel ’52 in the and meeting new ones, networking, learning, being recognized and Hampton Room, Malott Commons. acknowledged, and more. We are here tonight because we are not only volunteers, but we are alumna trustee and put me in just the right places to utilize my skills and leaders as well.As leaders we need to understand the notion of currency challenge my intellect; Professor Nancy Neiman Auerbach represents why I and exchange.With so many choices and so little time today, volunteers keep coming back…She is smart and passionate about her teaching. She will consciously or unconsciously seek out the places where their cur- makes a difference every day; Courtney Mayeda ’03, represents the promise rency is “in balance.” If Scripps is to continue to attract the hearts, minds, of the future. and time of our alumnae, we must look at each individual, understand her Since May, I have been jotting down notes of one kind or another as I currency, and make sure that she receives what she needs in the exchange. prepared for this evening. I adopted the Alumnae Office abbreviation and One aspect of my volunteer “currency” is being in the company of used the letters V-O-Y.One day I looked at my notes, and instead of great women. Each year my Scripps network grows larger.The “sister- reading that acronym as “Volunteer of the Year,” my mind processed “voy” hood” is powerful and valuable in my life, and the list of people in this in Spanish and commanded me to “Go!” network is much too long to mention. But I would like to comment on a To me, the word “voy” is a call to action. It speaks to the intention few women who represent the reasons that this aspect of currency is so that we all must have if we are to be good volunteers.We must GO, and valuable to me. Mary Weis, director of constituent relations: She has nur- we must be FOCUSED.We must avoid the fragmentation and make a tured, cajoled, praised and sympathized as I have learned to be an effective choice about where our volunteer energy will be spent.As a volunteer, I volunteer; President Nancy Bekavac: scooped me up when I first became an will continue to “Go!” and I will continue to choose Scripps College!

ALUMNAE SPEAK MILLARD SHEETS, director of Continuing Topic: painting at Scripps from 1936 to “My Favorite Professor” 1955, stands next to his sculp- ture in Bixby Court, outside the Because so many alumnae have Ruth Chandler Williamson Art submitted wonderful, moving stories Gallery. In addition to his paint- about the professors who made a ing and teaching, Sheets had an difference in their lives, we will extend impressive career in architec- tural design, including designing this topic through the next two issues the Home Savings and Loan of the magazine.Thank you to all Buildings throughout California. who have shared their stories; we will try to run them all.

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HMC alum) to the Williamson Gallery.The installation welcomed viewers into a circular Susan Rankaitis space adorned with hundreds of small brain images and a video depicting actual neuro- BY SARAH YATES WALLER ’01 logical behavior.At the time, I was enrolled in one of Susan’s experimental courses titled “Art, Science and the Landscape.”The class was composed of an equal mix of Scripps art The Lang Art studios stand at the edge of the majors and Harvey Mudd science majors.This blend of talents and perspectives led to Scripps campus, rubbing shoulders with fascinating discussions on topics ranging from the aesthetic properties of fractals to the Harvey Mudd’s Keck Laboratories to the mysterious Golden Ratio that pops up in everything from the spiral of a seashell to the north and gazing over the Ruth Chandler face of the Mona Lisa. Williamson Gallery to the south. Here, where I came away from the course awed by the realization that the incredibly complex the worlds of art and science collide, you will science unfolding across the street in Keck Laboratories could be just as abstract and find the creative workspace of Professor Susan subjective as the work produced in Scripps art studios. Scientific inquiry, like fine art, Rankaitis and her students. requires hearty helpings of creativity, experimentation, and a willingness to follow numer- Inside the classroom, the face of contempo- ous dead-end paths before reaching a successful conclusion. Inspired by my collaborations rary art emerges through the hands and minds with scientists, I painted the surface of a violin with the resonance patterns that represent of the next generation. Students sink comfort- how the wood vibrates when the instrument is played at two distinct musical pitches. ably into the worn couches and begin their The appreciation I developed for the similarities and differences between the arts and the critiques.Their discussion is ripe and gritty sciences also blossomed in my subsequent marriage to Mika Waller, an engineering major on the topics of emerging works.The lights at Harvey Mudd and a fellow student in Susan’s interdisciplinary course. are off, but lemony afternoon sunlight streams Susan was an indispensable mentor, friend, and advocate during my four years at through the windows. It illuminates an Scripps. She knew how to push when pushing was needed and how to throw a pool industrial-sized workspace bristling with party when it came time to celebrate.As an academic advisor, Susan did far more works-in-progress.These are the artifacts of than recommend courses—she helped me become attuned to the song of my own creative experimentation—half-articulated heartstrings. Even after I tossed my tassel and left the Lang Art Studios, she wrote paintings, mathematical concepts knitted into recommendation letters on my behalf and kept me connected with other art alums by yarn, a silk dress beaded with French love sending out periodic letters with updates on students’ lives. letters, a collage of evocative images from a Perhaps the greatest tribute I can offer Susan is my hope that someday I will be able plastic surgeon’s trade journal, body parts to pass along these gifts of mentorship and support to a young woman who comes fashioned from melted wax, and even a pink, knocking at my door with the partially completed canvas of her life and asks,“Where guillotine-sized machine designed to offer can I take this from here?” hugs through a pair of mechanized pillow arms.This is the environment that Susan Sarah Waller recently curated an exhibit,“Illustrating Nature,” which includes her own work, at the Burke Rankaitis has created to house and nurture the Museum as a part of the University of Washington’s Scientific Illustration Certification class of 2006. expansive imaginations of her students. Susan Rankaitis, the Fletcher Jones Chair in Studio Art, is remarkable for many reasons— one of which is her encouragement of students to experiment between disciplines and to form collaborative partnerships across Susan was an indispensable college boundaries.This conceptual cross- mentor, friend, and advocate during fertilization flows naturally from a professional “ artist whose creative media include airplane my four years at Scripps. She knew wings, medical imagery, memory-steeped landscapes, and new photographic processing how to push when pushing was techniques. needed and how to throw a pool In 2000, Susan brought her collaborative work “The Problem of the Homonculous” party when it came time to celebrate.” with neuroscientist Dr. David Somers (an SARAH YATES WALLER

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Alumnæ share stories of Speak favorite professors

Hartley Burr Alexander BY MARIANNE JOHNSON FINLAY ’37

Mary MacNaughton The summit of the intellectual scale was reached BY GINA MAGGIORE BROWNSTEIN ’99 for me when I signed up for a course in “The Tragedies of Shakespeare.” It was to be held in a I would not have dared to be late to Professor Mary MacNaughton’s “Art Since 1945” very small room in Balch Hall just off Palm Court class. She was not only one of my toughest teachers, but her class was so full of informa- and would be taught by Dr.Alexander. tion that missing one lecture (or even moments of a lecture) could have been devastating. I hated Shakespeare, couldn’t get a thing out of Professor MacNaughton took an enormous amount of historical and artistic detail and reading anything but his sonnets, felt that his made it fit in a concise, understandable format. Her talent of selecting the top, most archaic style of playwriting was hopelessly beyond significant pieces from thousands of artworks is something that now I really understand. me, and wondered why I signed up for the class in While my previous art history professor required that we attempt to cram 500 slides to the first place.There were about 12 of us, mostly memory, Professor MacNaughton assigned the top 50 significant artworks so that we guys from Pomona, which made it seem that the were able to learn and actually retain some of that information. class might not be so bad after all. As an inner-city high school photography teacher, I often wonder what my students Dr.Alexander was late for the first class.We sat will remember about me.What I remember most about Professor MacNaughton is her there for ten minutes, getting acquainted and more lecture about an artist that changed the way I think about art. She put up a Mark Rothko rowdy by the minute, when he suddenly rushed slide, and while I understood that it was important, I was not impressed. Professor into the room. Instantly, we all came to attention as MacNaughton told us that we had to see Rothko’s work in person to understand its he said,“So, you’re all wondering why you signed significance and power.Although I was not at all interested in the slide, she made me up for a class about someone you all dislike?” want to see the painting for myself; if she thought I needed to see it in real life, then I There were instant chuckles. definitely did. Later in the semester, on a field trip to The Museum of Contemporary Art, Fifty minutes later when he left the room, we sat I walked into a room with a giant Rothko on each wall and understood what she meant frozen in our chairs, mesmerized by the way he about these paintings.There was a depth in the layers of color that could not possibly be had been able to transform us into people who seen or felt in a slide reproduction. eagerly awaited the next session and suddenly While doing work-study with the wonderful and caring Kirk Delman [the Williamson needed to know more and more about William Gallery registrar and preparator], I had the opportunity to talk more with Professor Shakespeare. Long after Dr.Alexander was out of MacNaughton. She was very encouraging to me about my ceramics focus and told me earshot, the 12 of us spontaneously and simultane- about the times she spent in the art studios.We joked about her coming to throw on the ously broke into insane, very loud clapping.Then, wheel with me sometime—a vision that previously I could never have imagined. without saying a word to each other, we got up This balance between great teaching and personal relationships is what made my and marched silently out of the room.We had Scripps experience so meaningful. I think about Scripps art professors Glenn Husted, been changed forever. Alexis Weidig, Ken Gonzales-Day, Kathleen Royster—and Mary MacNaughton—as It was the moment when I discovered the examples of what great teaching and connecting with students really is. richness of the intellectual experience.

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…and [she] just started signing blank pages. I felt very confused, knowing that it Paul Darrow was“ not standard procedure and unsure how BY JENNIFER DUCLETT ’84 to accept it. She said she was tired and Meeting Paul Darrow was one of the high- wished me all the best…It was only then lights of my years at Scripps.Though I wasn’t I saw that she was making sure I had my an art major, I took a number of art courses. I wanted to discover if I had any of the design recommendations, and she knew she didn’t talent my brother and uncle were blessed with, have much time left.” and I wanted to become an architect. STEPHANIE RASINES I entered my first class with trepidation. I was a freshman, and a true beginner.The course was “Life Drawing,” and Paul was the teacher. It was quite clear that I wasn’t cut out for Ruth Lamb representational drawing.The model would be BY STEPHANIE PROBST RASINES ’71 posing and I’d just sit and stare, thinking,“He wants me to draw that?” Paul didn’t seem at all Scripps has touched my soul so deeply and permanently that it is an integral part of my fazed that my Conté crayon was not cooperat- life. I carry Scripps inside me, everywhere, all the time. My relationship with Scripps is a ing with my pad of newsprint. He was always complex one and yet so very simple.The College has always been there for me, through- there to keep me going with words of advice out my life, in times of happy discovery, or reunion, as well as times of intense personal or an amusing anecdote. searching, or moments of painful transition. I have journeyed to Scripps like a touchstone As a sophomore, I signed up for Paul’s many times in the 39 years since the first day I walked through the gates into the rose “Mixed Media” class. It suited me so much garden.Although the administration and faculty that greeted me changed through the better. Found objects were applied in new ways, years, the constant is their generous and nourishing spirit and lively intellect. and freedom of expression was encouraged. It There are many Scripps stories I could tell to illustrate my point. I will ask your was a wonderful experience. indulgence to read one I had occasion to put to paper recently: I think what I admire most about Paul is his I owe so much to Ruth Lamb’s dedication to her students. I had been one of her ability to communicate. Of course, there’s the Spanish language students and had worked for her in the work-study portion of my very personal way in which he communicates scholarship. Unwisely, I dropped out of school to marry, and went to live in a mining through his art.That’s a given. But he also has camp in the Venezuelan interior.“Civilization” petered out at my small village, with no a great way with words. He talked continually more paved roads all the way south to the Brazilian border.Yet,years after I left, she with us in class. It didn’t matter that we were dropped in to see how I was doing “on her way” to Brazil or Argentina. (Believe me, decades apart in age, for we all shared the my town was not “on the way” to anywhere!) I suspect she observed the confines of my human condition. He posted words of wisdom village life (I had adapted to a culture that placed women in roles at least 100 years around the studio. He took us sailing. He let behind the times) and regretted the stultification of my intellectual growth.At any rate, us into his world. she provided a kick-start to me.Within months of her visit, I received a handwritten note I respected Paul even when he disagreed calling me back to attend an exciting intercollegiate study group on Latin American with my idea to go to Manhattan for an studies as the Scripps representative.That experience lead to fruitful research of my own intensive architectural program for liberal arts in Venezuela and graduation from Scripps and work. majors. He didn’t think my art reflected an Eventually, I returned to the U.S. My marriage was failing, and I was planning to attend architect’s sensibilities…no hard edges. law school to prepare to support myself. I called Professor Lamb upon arriving and asked I went to New York anyway, and proved for a recommendation as my former faculty advisor. She said,“Of course,” and asked that him right! But that didn’t mark the end of our I come by the house, as she was recuperating from surgery. She looked lovely and well, friendship. My family and I still keep up with but was in a wheelchair, and attended by a nurse. She didn’t hesitate a minute, nor was Paul.We attend his art openings; we’ve visited she anything but gracious and welcoming.After catching up on personal news, she asked with him in Laguna; and we’ve even gone out me to type the letter myself, and I thought she meant that I should take her dictation, sailing with him aboard that same boat my returning for her signature. She said no, to bring her several sheets of paper. She told me classmates and I graced so many years ago. what to say, wrote some notes, and then calculated the space on the page and just started Last year, Paul sent me a greeting with the Zen signing blank pages. I felt very confused, knowing that it was not standard procedure and passage,“The beginner sees many possibilities; unsure how to accept it. She said she was tired and wished me all the best.After I left, the expert, few. Be a beginner every day.” I the nurse came around from the back and flagged me down to tell me that Ruth Lamb keep it in my office as a reminder that you was dying (she could see that I didn’t know). It was only then I saw that she was making should never stop learning—a lesson great sure I had my recommendations, and she knew she didn’t have much time left. She died teachers like Paul won’t let you forget. shortly afterwards.

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Bradford B. Blaine alumnæ Speak BY NANCIE CAROLLO ’92

The class of 1992 boasted an impressive quantity of history majors: 23 in all. Our senior seminar was crowded but intimate since almost all of us had begun our journey four years prior with “History of Western Civilization,” taught by Professor Blaine, a man so excited about the Middle Ages one could Theodore M. Greene BY LOIS ANN YENSEN DE SHA ’60 not help but catch his enthusiasm.Who among us thought she would actually enjoy reading Beowulf? As a first-year student in Browning Hall, whenever I sat at a dining table with seniors, Who didn’t wonder if the expensive and heavy they spent their time raving about Professor Theodore M. Greene, the Hartley Burr Jansen’s History of Art was really a necessary text, Alexander Chair of Humanities. I sat with those seniors as often as I could, but I had only to be grateful the first time she stepped into nothing to add to their discussions about religion, as I had never even gone to a church. a cathedral and knew how to identify every part The second semester of my first year, I decided to take Professor Greene’s “Philosophy by its proper name? (That is, if the cathedral was of Religion.”As a result, I became a philosophy major with a religion minor. Scrippsies, built between 900-1200. Round versus pointed this is not a smart major and minor. It prepares you for nothing in the real world. Still, it arches…the flying buttress…the crenellated has meant the world to me. battlement…fenestrations… clerestories…the We studied T.S. Eliot’s Four Quartets and Aldous Huxley’s The Perennial Philosophy. language of architecture as history. Only at Scripps.) Everyone sat at a table around Professor Greene, and most everyone smoked along with The writings of St.Augustine, the water-powered him. He used a cigarette holder and gestured with it, and the smoke curled as he talked. mill, the early beer-mash of European monks, and He kept us all excited about what we were learning. I remember I wanted to know if any the invention of a horse harness suddenly became religious experience was the same in Buddhism as in Christianity. He did not know, but relevant to my modern life. he made me want to know.Also, how did we define the Christ consciousness, and was it Professor Bradford B. Blaine convened the Class of the same as the Buddhic Atman? I was full of so many questions because I had grown up ’92 History Senior Seminar four years after giving us without Christian boundaries. Professor Greene said I asked questions that were impossible writer’s cramp in Western Civ (before the common to answer. Still, the Socratic way he taught made you want to make connections; made era of laptop computers). Shortly before graduation, you want to know, not just question, so that you could experience the Truth for yourself. he handed me $200 and a medieval cookbook and He sent me on a 45-year quest for God. sent me out with two friends to purchase the I’m sorry to say I started smoking, and it took me far too long to quit. I wrote my ingredients we would need to prepare a medieval thesis with Professor Greene on Paul Tillich’s The New Being. supper for the history majors. Brad and Mary Anne I graduated, got married, and moved to Georgia. Professor Greene was then teaching at Blaine hosted all of us in their living room that Agnes Scott College in Atlanta. I went to hear him lecture. It was such a joy to be in his evening.They ordered catered Cornish hens for presence again. He, too, had quit smoking. the entrée, in case the three novice chefs botched I made an appointment to see him.The day of the appointment, we had tornado warn- the rest of the meal. ings. I called and cancelled.The next time I called the college, someone told me he had We were sent to the grocery store armed with gone to his cabin in the mountains for vacation, and the cabin had burned down with the $200 and a cookbook printed in Old English. him and his wife in it. I was probably the last person from Scripps to see the dear man. We returned with our best guess at the ingredients T.S. Eliot said in Four Quartets:“We shall not cease from exploration, and the end of all for what we thought might be hearty onion soup. our exploration will be to arrive where we started and know the place for the first time.” The Blaines’ kitchen was at our disposal, and I The pebbles Professor Greene threw into the pond are still making ripples in my soul. remember my eyes swelling shut after cutting 30 onions by hand. Fortunately, there was plenty of wine for those brave enough to try the soup.The hens were delicious, and we all had a merry time. The event was a great change of pace from the stress of meeting thesis deadlines. Of the 23 history majors, I think only one of us wrote her thesis on a medieval theme, and it wasn’t me. But I never got over my first romance with the feudal system.Why, just last week I was with my Scripps suitemates at our semi-annual reunion, doing a crossword puzzle with a friend, when we discovered that we both knew the answer to a clue:“vassal.” If you don’t know what a vassal is, then you didn’t take a class with Professor Blaine.

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Marriages and Commitments ing. I remember Dr. Caster and his pipe, Dr. Ed ’69 Rebecca Painter to Martin J. Goldberger, White, and William Manker who came to May 1, 2006 Scripps in 1935 at Millard Sheets’ request to ’93 Sarah Grallert to Ted Alderson, September start a ceramics department. Mr. Manker was 24, 2005 famous for his glazes. I have a V-shaped bowl, ’93 Victoria Nelson to David Richard eggplant glaze outside; turquoise inside—very Martinsen, July 8, 2006. beautiful. I see Pat Green Moore ’48 and Hildreth von Kleinsmid ’33 most Sunday Births and Adoptions mornings for brunch.We all keep active in our ’92 Amy Wenzel and Eric, a son, Jonah Putnam, own way. April 17, 2006 ’94 Lily Leiva and John Maximuk, a daughter, Ruth Glaser Thaler (Roslyn Stella Lucia, March 12, 2006 Heights, NY) Still learning, still ’96 Amelia Leason Frinier and James, twin sons, 43 teaching, still grateful to Scripps Dennis William and Eric Robert, May 11, College for my education in the humanities. 2005 And it’s 63 years [since graduation]! • Janet ’97 Amy Piazza Bruhmuller and Lawrence, a Barton Young (Bainbridge Island,WA) I’m daughter, Daphne Lina, May 6, 2006 learning to cope, more or less, with my macular ’97 Stacy Brown Laughlin and Neil (HMC degeneration. Jim has taken over as chauffeur ’96), a son,Asher James, May 2, 2006 and is doing very well. On a recent trip of 30 ’01 Thuy Vo Dang and Damon, a daughter, miles, I didn’t “step on the brake” once. Cheers Allyse Minh Kieu, June 15, 2006 for audio books and the research on the condi- tion. June 9 will be our 63rd wedding In Memoriam anniversary. ’32 Dorothy Frerichs Hawes,August 28, 2004 ’36 Lucy Hodgkinson Griffith, July 2, 2006 Jan Boadway Hogan (La Verne, CA) ’37 Faith De Voin McAllister, June 1, 2003 We have a new thespian group at ’40 Dorothy Wieboldt Urion, May 18, 2005 44 our retirement center, and I had ’41 Grace Adams Horn, June 6, 2006 great fun designing the set and directing a ’45 Marvyl McVay Allen, July 14, 2006 lively comedy. • Isabel Osborne Shaw (Rome, ’55 Joan Marsh Lowe, May 29, 2006 Italy) My last visit to Scripps was for my class reunion in 1994. It was a wonderful event, see- ing my classmates again and seeing the campus 06 much changed but more beautiful than ever. I fall Betty Berry Kesler (Long Beach, have been living in my birthplace, Rome, since CA) Daughter Susann lives in 1951, and next door are my daughter and her 39 Pasadena, daughter Jan lives in family, including grandchildren ages one and Austin,Texas,and son Bill is in Newport three.We run a 16-year-old family business Beach. Some of you ’39ers may recall I was the called Insider’s Italy (www.insidersitaly.com), Scripps campus representative at Bullock’s and I direct the Rome booking office. Insider’s Collegian in downtown Los Angeles. I went Italy is a personalized travel planning company every Saturday morning at 7:30 on the Red for upscale and discerning visitors.Travelers Car into LA to sell clothes to my Scripps turn to the company for insightful and com- friends.There were reps from USC, UCLA, prehensive planning that is tailored to their Oxy, and Pomona. Five days a week Dot particular expectations.The company has Leinau Butler and I walked to Spanish class at received recognition and praise from myriad Pomona College and once a week we walked sources, from The New York Times to Gourmet to out Clark Gate, crossed Columbia Avenue to the Los Angeles Times to Bon Appétit, but what the Practice House for the music majors, with makes us proudest is that we never advertise, its fully equipped kitchen, and learned how to and friends learn about us from friends. make cheese soufflé, biscuits, and good coffee under the direction of Dorothy Kuebler Betty Davenport Ford (Claremont, (Kuebie), the dietician and food planner for the CA) A book of Betty Davenport’s four dining rooms. Great fun! Thanks to 46 sculpture has been published. It Rosamund Clarke, Dorsey housemother, Peggy documents her work from the 1940s to the Stark, Bullocks and me, we designed “senior” present, summarizing her career as sculptor and dark green flannel jackets.The Scripps logo was teacher.The introduction is by well known on the upper left hand corner.Very good look- watercolor artist Milford Zornes, who owns a

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Return to Toll Hall by Margaret Nilsson

Clockwise from top left, Hildreth Green von Kleinsmid ’33 in her high school portrait; near the Class of ’33 inscription on Graffiti Wall in April 2006; her Toll Hall room, early 1930s.

Those were the days of housemothers, curfews, and dressing according to Hildreth. She would sometimes go to the Coconut Grove for dinner. Hildreth Green von Kleinsmid ’33 remembers them well. or the Biltmore Bowl in Los Angeles. In fall 1929, the women from On a recent visit to Scripps, Hildreth shared some favorite Pomona College invited Scripps students to a “mixer” on the Pomona memories with her son and daughter-in-law.At Graffiti Wall, she noted campus.“We all went in our finest attire and the Pomona girls were where 70 years earlier she had signed her name near that of her friend chagrined to discover that we had usurped so many of the Pomona “Petunia” (Ruth Stelle Barton). From the rose garden, Hildreth pointed boys,” Hildreth recalls. out her second-story room in Toll Hall.“I loved my room because it Hildreth earned the reputation of the most gifted “marceller” of hair. overlooked the garden,” she recalls,“and it had a balcony.That made it She was sought after, especially on Saturdays, to help her classmates achieve very convenient when the Pomona boys came to serenade us.” the perfect wave. In the 1933 yearbook, La Semeuse, the inscription next Hildreth was able to show her family around her old residence hall to Hildreth Green reads in part,“How many of us can lay the success of thanks to a Scripps student who let them in. Hildreth’s a date to her excellent hair-waving that put us in a son, Richard, recalls the visit:“As we went from room to “How many of us spirit of conquest?” room hearing about how little things had changed and Hildreth tackled the social and academic life what used to go on in this corner and that, we gathered can lay the success of of early Scripps College with aplomb.Though her a growing audience of current residents who began to a date to her excellent “leading boyfriend” at the time proposed marriage, ask questions.Was it true that dinners were served? Did Hildreth insisted on graduating first. She was one everyone dress for them? Were desserts forgone to help hair-waving that of 31 women to graduate in the College’s third pay for grass in the quadrangle?” (Yes on all three.) put us in a spirit graduating class. She married Walter Benjamin von For her captivated audience, Hildreth painted a of conquest?” Kleinsmid five months after commencement. picture of Scripps College in its earliest years, including In the 1950s, at the College’s request, Hildreth details about residential and social life in Toll Hall.There were several began hosting receptions for prospective Scripps students. Her enthusi- “date rooms” where Scripps students could visit with their male friends. asm for the College led daughter Shirley von Kleinsmid Novo ’55 to Men were not allowed on the second floor, of course. If, for instance, a enroll as the first second-generation Scrippsie and Shirley’s daughter, father planned to help his daughter move furniture, each resident Laura Novo ’81, to graduate as the first third-generation Scripps student. received a phone call alerting her to a “man in the hall!” At 95, Hildreth enjoys her enduring relationship with Scripps and Each Wednesday a faculty member was invited to Toll for dinner her extensive family, including children Richard, Nancy, and Shirley, 10 and conversation. Saturdays nights were unequivocally for dancing. grandchildren, 14 great-grandchildren, and 3 great-great grandchildren. “A Saturday night when you didn’t go out dancing was really lost,”

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WANTED: large collection of her work. Betty has also Margaret (Peggy) Wilson Kershaw published a web site at www.bettydavenport- (The Woodlands,TX) We still get to ford.com, where you can view her work, order 52 the ranch occasionally but mostly Resourceful a book, or just share her vision of nature’s beauty. stay close to wonderful medical facilities here in The Woodlands and close to family and Alicita Koenig Hamilton (Golden, grandchildren, for which we are eternally Alumnae CO) Both of us continue to enjoy grateful. • Ann Blanch Parkinson (Lyme, CT) I 48 Warren’s role as distinguished pro- now have 11 grandchildren. One will be a sen- In 2001, the Alumnae Student Diversity fessor in residence, Department of Geophysics, ior in high school next year. My two sons work Committee (ASDC) was formed through Colorado School of Mines.We love the small very hard on Peapod delivery services, the town of Golden and our view of the Front company they founded and run. One daughter the joint efforts of committed alumnae and Range and Mesas. I have added a new volun- is president of the Essex Library, the other a student organizations, specifically Café Con teer activity—playing “golden oldies” on the councilwoman and judge. I have just returned Leche, Wanawake Weusi, Family, and the white grand piano in the lobby of a nearby from three weeks in Greece, visiting all the Asian American Student Union. As a group hospital once a week. sights I learned about at Scripps. I am registrar committed to open and continuous dialogue for the National Society of Colonial Dames in between students and alumnae, the ASDC Kate Schamberg Shapiro (Highland Connecticut and am active in the New London Park, IL) We continue to spend Garden Club of America, the Lyme Garden strives to provide support for Scripps 49 winters in Tucson, summers in Club, and the Garden Gang of the Florence women who may benefit from the resources Highland Park. I’m on the advisory board of the Griswold Museum. alumnae have to offer. University of Arizona—a sustaining member of Ravinia Festival Women’s Board. Proud of my Alyn Brown Morton (El Paso,TX) I The ASDC is currently recruiting volunteers to: kids: Michael Hammer, an internationally think often of how much the entire known geneticist, in Tucson; Greg Hammer, at 53 Scripps experience has enriched my • Speak on campus and conduct Stanford, a pediatric anesthesiologist and inten- life. I haven’t been in touch with many of you workshops for current students, in sive care specialist who lectures all over the since reunion. Life has been filled with family, a coordination with Career Planning & world; and Anne, in Tucson, a jewelry maker. few health problems, and some joyous time Resources and the Scripps College The Shapiro kids are great also; too much to with a few Scripps classmates. Daughter Summer Academy. say about the grandchildren, ages 6 to 23. Priscilla experienced the New Orleans event. • Help recruit prospective students of Granddaughter Sara visited Scripps and fell in Jane McCrea Hook (Whittier, CA) love with it. color and support on-campus events My granddaughter,Tess Perrin, will such as Preview Day and Spend a 50 graduate from high school in New Ruth Churchill (Sausalito, CA) I Day in Our Shoes, with the Office Jersey. She enrolls in William and Mary in the 54 now enjoy living on the water. Still of Admission. fall. My daughter, Elizabeth Perrin, also gradu- consulting for IESC, this time in • Plan diversity-related events in your ated from Scripps. • Sonya Gray Woods Central/East Africa with artisans trying to (Lincoln, CA) I’m still traveling—Southern import to U.S. markets. • Andree Mendenhall local area for alumnae through the California from time to time;Africa (Kenya) Mahoney (Rancho Cucamonga, CA) Jerry and Regional Associates program. late June; the train across Canada with I are sharing our home studio for smaller art Elderhostel in October; and the Russian water- works now. I am active in Pomona helping to If you are interested in working with the ways either in August or next spring.Also, life revitalize the past era buildings with arts activi- ASDC or would like more information, in Lincoln Hills remains exciting and busy, so I ties—fun for all. I recently exhibited with the please contact Deepika Sandhu ’99 or must stay well. dA Center Artisans at the Maloof Foundation in Alta Loma. Lee Ann Wang ’03. Joan Murdock Philipp (Belvedere, 51 CA) Both well—three grandsons Judy Richmond (Sunland, CA) I had Thank you, and we hope to hear from living in San Marino, California— 56 a wonderful time at our 50th you soon! 16, 14, and 12 years old.We are traveling reunion. It was so enjoyable to see often—last trip was a cruise to Turkey and so many faces from our early Scripps days. Turquoise Coast. Return to Southern California often to see old friends in Pasadena Anne Arthur Gottlieb (White ASDC CO-CHAIRS and grandchildren. • Joey Taylor Roberts Plains, NY) I’ve been nominated to (Charlottesville,VA) Mort and I had our first 57 return to the Board of Governors of Deepika Sandhu ’99 grandchild, Robert Anthony Salgado, born White Plains Hospital. My volunteer work [email protected] November 2005 in Washington, D.C.We look there is so rewarding, and the staff is very forward to seeing Mariana and Blum Steinberg appreciative.We’ll celebrate Al’s 75th at Lee Ann S. Wang ’03 in Maine this summer. Thanksgiving—all the children, their spouses, [email protected] and grandchildren will be there.

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Perry McNaughton Jamieson (San “Get to Know Gabrielle Giffords” party in LET’S HEAR FROM YOU 59 Luis Obispo, CA) In April of ’06, August for a Scripps graduate running for the You can now e-mail your class notes to: The Great American Anti-Sports U.S. Congress. [email protected]. Submissions may Crusade (GAASCRU) was published.The book be edited for length and clarity. is an off-the-wall comic novel co-authored by Sandy Rogers Behrens (Rancho Because of space limitations, we regret we James B. Jamieson (CMC ’55) and James R. 63 Palos Verdes, CA) Our daughter, are unable to print e-mail addresses included in Cooley (CMC ’54). Get one online from Christine, will be married this June. many class notes; to reconnect with classmates, Amazon, Barnes & Noble, or Xlibris. Only She is the marketing director for a physical update your contact information on the three more years until our 50th! Keep taking therapy office located in Rancho Cucamonga, Alumnae Online Community by going to: Vitamin C and stay well. where the couple will reside. • Margaret http://alumna.scrippscollege.edu. Scrogin Chang (Williamstown, MA) I am still Moira Moser (Hong Kong) M. active in the American Library Association, 60 Moser Associates, which I founded serving on the Batchelder Award Committee to in 1981, celebrates its 25th anniver- choose the best translated title published for Robin Adair (Shoreline,WA) I am sary this year.We now have over 400 people in children and young adults in 2006. • Gayle running for the U.S. Senate in nine offices globally, providing corporate clients Neumuth Silva (Canoga Park, CA) I am truly 65 Washington State as an Independent. with interior architecture, engineering, and enjoying retirement, having fun! My youngest I’ve just completed two years constructing a strategic planning for their office facilities. Half granddaughter will be one year old in August model of the economy:“Gap (or Void) Theory.” of our people are in China—Shanghai, Beijing, 2006. Older son Greg just started his own con- I found an unexpected “pump” moving very Guangzhou—and the rest are in New York, sulting business, and younger son David is busy large amounts of money, spontaneously reset- London, Hong Kong,Taipei, Singapore, and setting up computer networks. ting interest rates, and causing inflation. • Susan Kuala Lumpur. • Suzanne Stofft Nystrom Hopkins Coolidge (Petaluma, CA) We moved (Tucson,AZ) Suzanne and Rebecca Harlow Karen Diehl Merris (Hayward, CA) to Petaluma in Sonoma County in the rainy El Potter spent a rollicking four days on a Baja 64 We are spending the second semester Niño winter of 1997-1998 and love it. Clark’s Mexico cruise with 30 other high school 2006 at Williams College, where mother, Sylvia, lives with us (at 98 years!). chums from the Tucson High class of 1956.The Russ is a visiting professor—having a wonderful My mother, Kay O’Melveny Roberts ’42, oldest of 18 on an ocean kayaking adventure in time.We have seen Maggie Scrogin Chang ’63 is in Healdsburg. Sadly, she is fading with Ensenada (La Bufadora), we were cheered and and Raymond. • Carolyn Graessle Sheehy Alzheimer’s disease.Among other things, I applauded by our younger colleagues. It was a (Chicago, IL) In addition to serving as Clare garden, draw, walk, volunteer with the Polly hoot! • Rebecca Harlow Potter (Pasadena, CA) and Lucy Oesterle Director of Library Services Klaas Foundation and Petaluma Museum, and Enjoyed a week (March) in Kauai with our at North Central College (Naperville, IL), I am studying to be a flower show judge, of all children and grandchildren. I retired from have been appointed director of institutional things! • Elaine Drew (Monrovia, CA) I had a Westridge in July 2006 after 26 years. I will be assessment and accreditation there. • Marilynn great trip through the Canadian Rockies last doing consulting for non-profit fund-raising. Smith (Spring,TX) Living here in Texas in September.This year is a return to Alaska. proximity of my grandchildren is wonderfully Sadly, this year, my closest friend of 30 years Bonnie Gertsman Youngdahl full of action, joy, etc. Much better than isolated died. My parents died in 2004 and 2005, so I’m (Encino, CA) I continue to mourn in the California desert! lonely much of the time. 61 the passing of Gail Paradise.After 40 years of living on opposite coasts, we renewed a friendship filled with art, travel, wonderful conversations, and cherished time. Gail was a master of all mediums, and I’m lucky to own some of her works. Outstanding Young Women Wanted! If you know an outstanding young woman applying to college, encourage her to investigate Scripps. As an added incentive, present Anne Hanes Harvey (Lemon her with the certificate below—a waiver of the $50 application fee. Grove, CA) I have just retired from 62 my position as professor of theatre Applications for the Class of 2011 are due November 1, 2006, for Early Decision I; January 1, 2007, at San Diego State University. My farewell for Early Decision II; January 1, 2007, for Regular Decision. Other deadlines are as follows: Scholarship performance was as Madame Ranevskaya in deadline: November 1, 2006; Mid-year Admission deadline: November 1, 2006; Fall Transfer deadline: Chekhov’s The Cherry Orchard. My program April 1, 2007. note acknowledged my first drama teacher, Jesse Swan at Scripps. My husband, Michael (HMC ’61), was also in the cast, and we were SCRIPPS COLLEGE APPLICATION FEE WAIVER both thrilled to see Jesse’s son, Rollin Swan, in This certificate entitles the applicant named below to a waiver of the $50 application fee. the audience. Long live theatre! • Dee Tackett O’Neill (Tucson,AZ) The Tucson Group, with Name of Applicant: many alums, has formed a book discussion Alumna’s Name and Class Year: group and a hiking group, and we’re having a Alumna’s Address:

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Kappa Adair Waugh (New Paltz, Jan Kawabata (Honolulu, HI) My Jennifer Holland Klekamp NY) I’m winding down at Vassar education and life’s lessons learned (Littleton, CO) My eldest son, 66 College and hope to retire in 76 at Scripps are priceless and are put 79 Chris, started CU Boulder in December.Time for more arts and crafts and to good use everyday in my fifth-grade class- September. Can’t believe we have a high school travel. Page Simon ’67 lives about an hour away room. • Linda Lebenbaum Sanoff (Los Angeles, graduate already. Jesse is excelling as a high and we get together, though not often enough. CA) It was fabulous seeing everyone at our school sophomore and considering Scripps! 30th reunion.Who would have thought those Loving my volunteer uniform work with the Kelly Miller Ford (Newton Lower Grace Scrippsies Cathy Lydon, Joanne Wright, high school marching band. Chris may march Falls, MA) I retired from teaching in Chris Gallagher, Frances Oda, Lisa Sanderson at CU; he had two years as drum major. 69 2003 and have been working full Haney, and Kathryn Sweeney ’77 would still be time as Tom’s dental office manager ever since. gathering to eat, drink, and talk? • Ellen Elizabeth Santillanez (San Diego, I enjoy the financial work and the flexible Zucker (Las Vegas, NV) It took nearly 30 years, CA) My son, Ryan, is now seven schedule. My sister and I finally were able to but I’ve returned to the left coast.With my son, 80 years old.We are in good health, and take our “roots” trip to Sweden and loved it. Jonathan, a sophomore at Syracuse, and a are enjoying the summer so far.Work has kept Jamie (26) is in his fourth year of graduate divorce behind me, it was time for major me very busy, and I have been enjoying a short school in materials science at the University of change. I’m in Vegas, teaching Hebrew school break this summer with him. Pennsylvania after receiving a degree in chem- and involved with volunteer work. istry at Reed College in 2002.Tim (20) attends Cheryl Benson Hoban (Yorba Santa Monica College, returning home for Red Dorothy Schlesser Ashley (Bend, Linda, CA) My husband and I spent Sox games and his summer job at a toy store. OR) Eli and I moved this year, to 81 two weeks with Jennifer Jackson 77 Bend, where we live in the country Werner and her husband, Derek Werner (CMC Susan D. King (Minneapolis, MN) on nearly 12 acres. I am still riding and training ’81), in New Delhi, India.What an exotic place. My book of poems, titled Coven, show-jumping horses, and Eli is managing We went white-water rafting down the Ganges 70 about powerful, loving, transforma- Bend’s performing arts theater downtown.We and wandered through 80,000 camels at the tive women, contemporary, historic, and love living here—every day’s a vacation! Pushkar Camel Fair. I also caught up with Vicki mythic, came out this spring. Several Scripps Montgomery White in Phoenix last year. alumnae attended a reading I gave in Portland, Marguerite Thompson Burke (Lake Oregon. One Breasted Woman, my book of Bluff, IL) Celebrated 50 years in Margaret Sturdevant Schaefer (Paso poems about my experience with breast cancer, 78 2005 with Ann Alexander Pritzlaff Robles, CA) I am writing from will come out next year. • Kaley McAnlis and spouses in Mexico. Surprised Ann two 82 Camp Scripps.What fun it is to Mish (San Diego, CA) My beautiful grand- weeks later for her 50th! Traveling to Ireland in make new friends with alumnae from different daughter, Skye, arrived June 30. My daughter, October for 25th wedding anniversary.Three eras. I wish my old friends could be here, too. Phoebe, and baby are doing wonderfully. daughters are happy and healthy. Miss everyone Maybe next year! from Browning! • Rosemary Markle Sissons Sallie Shagnell Rinderknecht (Long Beach, CA) I’ve recently started grad Jody Cantrell Garcia (Kensington, (Escondido, CA) 2006 brings yet school and am working towards a master’s CA) No big changes for us, just a 71 another stage to this life—we degree in educational leadership and an admin- 83 busy household with our three became grandparents in February—perhaps a istrative credential. Dave and I just celebrated boys, Joaquin (6),Alejandro (5), and Enrique member of the class of 2028. Rod and I are our 20th wedding anniversary. JJ is nearly 17 (3). My husband took our kids to New Mexico beginning to talk about retiring. and attending boarding school in Idaho. for the whole summer.What a brave soul! I am having a great time working at AT&T. I See Bree Bowman almost every day at work. • Sarah Grallert ’93 and Ted Mary Alice Morton (Prairie Village, KS ) All’s Alderson were married on well in KC, though I’m still wrestling with September 24, 2005, in what to do with all my mother’s belongings— Harvard Square, Cambridge, they are each slowly finding their niche.To Massachusetts. The cele- escape dealing with that, I’m looking forward to a California sojourn in June to include bration was attended by Camp Scripps. • Ruth Lunsford Namie Scripps alumnae (from left) (Bellingham,WA) I have relocated to Holley Pitman Haas, Jody Bellingham, only 18 miles from the Canadian Matthews Aafedt, Maggie border. My youngest son, Sean, just married in Brenneke ’94, and Jennifer Baltimore, and oldest son is engaged to be Stoddard ’92. married in September 2007. My career has taken off, and I have a cause. My husband (Gary Namie, PhD, UCSB 1982) and I are the national experts on the phenomenon of work-

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place bullying.We have written two books, sev- best friend from seminary, David Owen. My eral referred journal articles, and work matron of honor is the best friend a girl could with NIOSH/CDC and APA.We have been have, Janien Ferry Jameson ’91. • Lilli-Mari fortunate to get great media exposure, both on Andresen Rassey (Carlsbad, CA) Alex and I national TV (Today Show, Good Morning America, love Carlsbad and are looking forward to build- Early Show) as well as CNN, FOX, and ing our careers and family in the area. • Taina MSNBC. In July, there will be an NBC Berryman Unverzagt (Patchogue, NY) As of Dateline program devoted to our cause and June 2006, we will officially be relocated to what we do. Please visit our website at Patchogue. I will be starting a new job as www.bullyinginstitute.org. accounting manager for Five Star Fragrances, a Division of Quality King. I’m looking forward Jennifer Wells Green (Los Angeles, to spending more time with alums in the NY CA) 2005 was a big year for me. I area and introducing my daughter to the joys 84 married Randall Green in January of Scripps life. and gave birth to Piper Rose Green in December. Both were worth the wait! Correction Mystery Revealed: In her class note in the last Dawn Cederlund (Auburn, CA) issue of the magazine, Alison Bantz Akers ’92 Loving my new life in Northern (Cranston, RI) mentions “this special time in 86 California. It was great to reconnect our lives.”The reference was to the birth of Jamie R. Greene ’03 of Los Angeles graduated with the old gang at our reunion. • Susan Hyacinth Elizabeth on December 2, 2005, from USC Law School in May and recently took Igo-Forman (Oakland, CA) Nigel and I wel- which was added to “Births and Adoptions” but the California Bar exam. comed the birth of Charlotte Grace in October deleted from her text.“We are very excited and 2005. She is pure joy, and we are having such happy about our new arrival,” writes Alison. fun with her.Who knew being a parent would be this wonderful? This old dog is learning new Amelia Leason Frinier (Glendale, Nicole Burkholder Walsh tricks! • Jeannette (J.J.) Asling Solimine CA) Our twin sons, Dennis William (Honolulu, HI) In September, my (Colfax,WA) I was elected to Colfax City 96 and Eric Robert, were born May 00 husband, Jason (CMC ’98), and I Council last November, and I continue to work 11, 2005. I have taken leave of my teaching job moved to Hawaii, where I am working as a with Families Together for people with disabilities. to be home with the children until they are old law clerk for The Honorable Helen Gillmor, enough to enter preschool. It has been exciting United States District Court Judge. I graduated Jennifer Richard (Sacramento, CA) and rewarding to watch them grow. summa cum laude from Whittier Law School I’ll be starting a master’s of divinity in May and am really looking forward to 91 program this fall at Starr King Jennifer Durant Ackerson (Salem, catching the aloha spirit. School for the Ministry in Berkeley. For the OR) Matt, Colin, and I bought a first couple years, I’ll only go to school in the 97 house in Salem this past July.We are Thuy Vo Dang (La Jolla, CA) I am fall when I can drop to half-time work in the greatly enjoying being new homeowners and currently working on my disserta- Senate.After the Senator I work for is termed getting to know Salem and its surroundings. I 01 tion with a UC President’s out and I hit the magic age of 40 and secure am still a stay-at-home mom, loving every Dissertation Fellowship. my retirement health benefits, I’ll be able to minute with Colin. • Elsa Hsu Ching (Cowan leave the Senate and go to school full time. • Heights, CA) After almost four years in Irvine Jessica Kubik (San Rafael, CA) I Antoinette Sabarots-Etulain (Seattle,WA) In we are finally taking the plunge and moving was accepted into a neuropsychology June 2005, I delivered our son, Jean Mikel.This on.We have moved to North Tustin and now 05 PhD program at Simon Fraser past August, I delivered twins—Elisabeth and have a bigger house, bigger yard, pool, and University in Vancouver, Canada. Patxi (a boy)—both over 7 pounds! bigger mortgage payment.

Teresa Doniger (Culver City, CA) I Nicole Scheunemann Giumarra am continuing to pursue a master’s (Bakersfield, CA) After moving to 92 degree in the mental health field 99 Bakersfield last year so my husband, (psychology/marriage and family therapy), and Jeff (CMC ’98) could join his family business, ENGAGED? EXPECTING? I have been enjoying working for the past year we are settling into our new home well. I We’re delighted to spread the word when your with a bereavement services organization (in am working as a registered dietitian in long- good news becomes a reality. Just let us know Los Angeles), where I co-lead a grief support term care. after the vows are spoken or the baby has arrived. group for elementary school children. • Jennifer Williams-O’Quill (Chicago, IL) I continue to Photos submitted for consideration should be serve as a minister of Second Unitarian sent to [email protected] with a resolution Church, and this summer I am marrying my of 300 dpi.

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Scripps thanks the many alumnae, parents, and friends who have made a contribution prior to August 11, 2006, towards the production of the Scripps Magazine. Thank you, editorial associates, for your support and continuing interest in the magazine. The editors welcome your comments and suggestions so that the magazine can continue to improve and better serve you.

Editorial Associates of the Scripps Magazine Anonymous Bonniethanks and Hilliard Clemens P’09 Marilyn and Obren Gerich P’92 Barbara Abrams and Gary Root P’06 Elizabeth and Leonard Cleveland P’07 Marilyn Marsh Gilbert ’54 Rebecca Barber Adams ’61 Sharon and Michael Coad P’04 Catharine Berger Gilson ’71 Anne Kuiper Ainsworth ’77 Gwendolyn Bergh Cole ’61 Nicole Scheunemann Giumarra ’99 Audrey Hodges Armstrong ’85 Susan and David Coleman Patricia Milligan Gotelli ’54 Susan Yunker Armstrong ’66 (Susan Conner ’75) Anne Arthur Gottlieb ’57 Sarah and Robert Auffret P’99 Marlene Collins P’90 Hortense Vachon Grant ’39 Deirdre Treacy Babcock ’52 Karen Pedersen Conroy ’68 Anne King Gregersen ’63 Lisa Nguyen Bahn ’99 Jarmaine Haddad Contino ’84 Ursula Griese ’86 Diane Bai ’96 Jeff Cook P’07 Barbara and Jeffery Grunewald P’06 Catherine Bryant Ball ’94 Pamela Corey-Archer ’62 Sandra and Donald Guinn P’08 Shannon McGrady Bane ’85 Catherine Coulson ’65 Janet and Bruce Gushue P’81, P’83 Jane Douglas Barna ’70, P’02 Patricia Odell Coulter ’47 Breanne Gutierrez ’03 Myrna Mademann Bates ’53 Adrianne Court ’89 Diana Woodard and Patrick Hagan P’99 Mary and Randall Baxendale P’08 Sara Calvillo Cuecuecha ’73 Nancy Marston Hammond ’52 Ann Baxter ’80 Carol Reid Dabney ’51 Somi Park Han ’93 Christy Palmer Baxter ’46 Dana Cook Dakin ’64 Whitney Brooks Hansen ’58 Louise Roripaugh Beesley ’60 Carole Bineau Daley ’77 Carolynn and Matthew Harder P’08 Marlou Rau Belyea ’47 Sherry Datwyler Dargert ’89 Lucille Harper P’87 Marie Ostman Berman ’78 Dorothy Bright Davis ’41 Erin Harris ’99 Grace Bixby Mary Auble Davis ’68 Jeanne Johnson Harvey ’47 Mary Anne and Bradford Blaine Selma Rockey Denecke ’41 Janel Henriksen Hastings ’91 Sharon Walther Blasgen ’64 Diana Dietze-Filoteo ’93 Ann Terry Wade Haven ’54 Joanne Blauer ’72 Susan Dillon ’69 Gloria DeAngelis Hayes ’84 Faith and Stephen Bloomquist P’03 Diane Divelbess ’57 Mollie Milliken Hayes ’47 Martha Blumenthal ’80 Laurel and Charles Doherty P’07 Josephine Hazen ’75 Mary Bolster ’82 Doris Toney Dohn ’48 Nancy and Carl Hendricks P’06 Ramona and John Bonner P’88 Dawn Dorland ’02 Yvette Herrera ’85 Mary Rhees Born ’53 Suzanne Dostal ’69 Ronald Hess P’84 Drusilla Johnson Bowman ’81 Fay Pearson Dreher ’59 Susan Wimer Hewett-Chapman ’73 Darlene Rebhausen Brandt ’44 Charlene Devine Duncan ’53 Marka Oliver Hibbs ’53 Sandra Glasco Brew ’62 Joanna Hamel Dunklee ’62 Caryl Chesmore Hinckley ’50 Ann and William Bride P’92 Jane Lueddemann Ehrman ’41 Ann Kinau Hirahara ’91 Josephine Sette Bridges ’54 Elizabeth and Roy Eisenhardt P’05 Cheryl Benson Hoban ’81 Victoria Brien ’75 Edith Pattou Emery ’75 Sue Strauss Hochberg ’63 Katherine Manning Brill ’41 Michele and Roger Engemann P’93, P’96 Patricia Dickman Hoffman ’67 Courtaney and E. Howard Brooks Debra Erickson ’79 Janice Boadway Hogan ’44 Lauren Burchett ’00 Mary Sherwin Faulkner ’47 Ambassador and Mrs. Glen Holden Marjorie Thompson Burgeson ’50 Margaret and William Feldman P’07 Sheila Garard Holzer ’62 Suzanne Busch ’92 Kathy Sbicca Flatley ’74, P’05 *Grace Adams Horn ’41 Marilyn and Stephen Butler P’05, P’08 Zemula and John Fleming Merrilee Stewart Howard ’70 Patricia Callan ’76 (Zemula Pierce ’47) Nancy Shroyer Howard ’53 Serena Schourup Carlsen ’82 Brent Shaw Foster ’55, P’83, P’91 Kristin Leigh Hughes ’89 Carolyn and John Carollo, Jr. P’80, P’92 Andrea Fouks ’89 Lynne Jeffries Hunt ’75, P’09 Nancie Carollo ’92 Luisa Francoeur ’73 Ellen Montgomery Hunter ’49 Duane Prince Carraher ’49 Carlyn Gauche Freefield ’88 Julia Sia Ing ’50 Randie Cloutier Chaine ’94 Julia Freeman P’85 Joan Isaacs ’71 Sally Bieler Chamberlin ’50 Sherry and Richard Frenzel P’93 Hannah-Beth Jackson ’71 Mary Miller Chapman ’74 Marcy and Richard Fry P’05 Patricia Jackson ’82 Margaret Chase P’62 Jeanne Culviner Fullerton ’84 Andrea Jarrell ’84 Catherine Chatton Cheney ’67 Lois Compton Futrell ’54 Glenn Pierce Jenkins ’51 Janet Strickler Childers ’89 Anna Catherine Galli ’41 Nancy Hart Glanville Jewell ’49 Joel Cinnamon Cynthia Janes Garlough ’87 Joanne MacDonald Johnson ’49 Joanna Clark ’92 Mary Waite Garvey ’93 Kathleen Billings Johnson ’50

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Beverly and Michael Jones P’06 Helen Murphy ’42 Daryl Smith Diane Josephy-Peavey ’65 Marjorie Riles Murray ’69, P’96 Gail Toepfer Smith ’59 Caryn Kali P’08 Catherine Myman-Kaplan ’00 Jean Bixby Smith ’59 Nancy Katayama ’77 Anne Bergstrom Neblett ’61 Marilynn Smith ’64 Joanne and Dennis Keith P’96 Wendie Sue and John Nelson P’02, P’08 Georgia Jones Snoke ’63 (Joanne Glass’63) Stephanie Nikolopoulos ’01 Angela Sonico ’96 Jean Netherland Kincaid ’49 Marilyn and Dale Nordell P’02 Marjorie Snyder Sorensen ’47 *Meeta Cook King ’49 David Null Kimberly Lyman St. Charles ’86 Leslie Kooy ’90 Susan and Robert Nutt P’05 Sandra and David Stanley P’01 Linda Lewis Kramer ’59 Suzanne Stofft Nystrom ’60, P’88 Marianne Nelson Stewart ’67 Clare Kremer Marilyn Okano ’73 Deborah Kates Streiber ’60 Kristen Davies Krolak ’93 Taryn L. Okuma ’00 Mrinalini and George Strohl P’08 Caroline and Glenn Kurimoto P’07 Emily Olman ’ 98 Denise Su ’99 Aylin Kuyumcu ’96 Graziella Groth-Marnat Outmans ’49 E. Adele Piccinati Swan ’71 Anna Dey Young Ladd ’77 Karen Allen Parry ’59 Helen Farnsworth Swanson ’49 June Lowery Lamson ’40 Eleanor Bisconer Patrick ’71 Peggy and James Takahashi P’97 Margot Larkin ’84 Sherril Pavin ’73 Renu Orapinsansun Takao ’76 Sarah Belanger Lantz ’00 Judith and Peter Pelz P’08 Sunday and Scott Taylor P’02 Trilby Nelson ’02 Janis and Gregory Peralta P’05 Laurel Davidson Tierney ’40 Kay Wetzel Leavens ’82 Anna Villalobos Perez ’79 Barbara Brooks Tomblin ’66, P’92 Susan and Darryl Lee P’07 Barbara Perry-Lorek ’87 Anne Matthias Torza ’91 Tom LeFevre P’07 Carolyn Pidduck ’72 Darlene Dance Townsend ’69 Andrea Liguori ’78 Leonora Pierotti ’34 Nancy Hargrave Trask ’39 Charlotte Miller Long ’76 Delora Armstrong Pitman ’37 Ana and Ronald Valmont P’04 Susan and Robert Lord P’05 Vicki and Robert Plavchak Colleen and John Van Maanen P’03 Eleanor Getz Lorton ’39 (Vicki Wilhelm ’71) Helen Stockwell Vatcher ’51 Elisabeth and Donald Lyman P’01 Pauline Riedeburg Plesset ’42 Holly Vetterli ’01 Michele Robin Lyons P’06 Kathryn Hood Pluhar ’66, P’94 Janet Doty Vincze ’78 Susan Kendall Maas ’66 Hansel and Stephen Pollack P’06 Traci Vogel ’99 Mary Ingram MacCalla ’72 Patricia Oliver Powell ’53 Hildreth Green von Kleinsmid ’33, P’55, GP ’81 Penelope Willard Madry ’92 Mary Ann and Dennis Pullins P’06 Cynthia Collins Walker ’74 Jane Stuhler Magee ’50 Catherine Pyke ’79 Sarah Yates Waller ’01 Andree Mendenhall Mahoney ’54 Palmer Pasnick Lawrence Raible ’83 Marilynn Walther ’65 Rosemary Wilson Maino ’43 Patricia Ranieri ’97 Janet Monesmith Ward ’63 Megan Mandeville ’89 Valerie Thom Read ’57 Anne Warren ’89 May and Kam Mar P’94 Dorothy Denebrink Rechtin ’51 Jennifer and Kojo Watanabe P’00 Rebecca Giacosie Marchand ’98 Elizabeth Gordon Reinhold ’57 Katherine Waters ’73 Christine Minor Markovitz ’73 Carolyn Revelle Leonard Weisman P’08 Lucy Corbett Marlitt ’44 Ellen Clark Revelle ’31 Lynn Weisman P’08 Jacqueline Thompson Marsh ’52 Gayani DeSilva Reynolds ’91 Patricia Fisher-Smith Welsh ’51 Laurel Barber Martin ’61, P’89 Janet Redding Richardson ’71 Camilla Perkins Wenrick ’74 Jennifer Martinez ’95 Amber Richert ’02 Marguerite Lee West ’43 Marie Mastrangelo ’79 Kimberly Rideout Dannie Beyette Weston ’51 Nancy Matthews ’87 Ivanthia and Vasilios Rigas P’07 Isabel Sloane Wheeler ’46 Dana Mayhew ’74 Jane Routt Rix ’52 Jennifer White ’04 Carol Coleman McConnell ’73 Claire Thurmond Roberts ’41, P’73 Sandra H. Whitehouse ’60 Anne Browning McIntosh ’83 Nancy Adams Robertson ’57 Merideth Green Wiberg ’59, P’91 Margaret McKenzie ’40 Rilla Rothwell Rogan ’66 Susan Johnson Willey ’67 Julianne McLeod P’07 Frankie Castelletto Runzo ’37 Carolyn Walton Williams ’44 Molly McQueen ’89 Sonya and Mark Rustad P’08 Geraldine Bauhaus Williams ’60 Sidonia Lenicky McReynolds P’01 Diane and Daniel Sagalowicz P’94 Elizabeth Mordecai Wissler ’50 Thomas P. Megan Virginia Meaglia Sbicca ’40, P’74, GP’05 Joyce and Lawrence Wong P’08 Karen Gerstenzang Meltzer ’57 Rosalyn Scaff ’90 Janice McMahon Wood ’68 Hilary Roe Metternich ’72 Margaret Sturdevant Schaefer ’82 Marie Schilling Wood ’81 Mary and John Milne P’06 Pamela and Russell Scheeline P’04 Trudy Wood ’73 Helen Lou Sick Minton ’41 Carol Scherfenberg P’03 Diana Woodard and Patrick Hagan P’99 Sally Melczer Monastiere ’67 Jennifer Seeman Schmidt ’98 Sonya Gray Woods ’50 Jaqueline and Solomon Monteverde P’08 Katharine Tucker Schoellerman ’68 Barbara Cook Wormser ’59, P’81 Patricia Green Moore ’48 Caroline Schomp ’71 *Jane Praeger Yaggy ’36 Shirley Beaham Moore ’56 Gretchen Schreiber P’08 Linda Yorton ’70 Susan Woodbury Morris ’62 Felice and George Schulman P’07 Anne Morley Zachman ’45 Alyn Brown Morton ’53 Elizabeth Rusling Sedat ’36 Terre and Jeffrey Ziegler P’04 Suzanne and Paul Muchnic Anne and Charles Seidlitz P’07 Jessica Ziegler ’04 (Suzanne Ely ’62) Susan Potter Shanley ’74 Sheila D’Moch Muller ’68 Carolyn Graessle Sheehy ’64 *deceased Ann Reardon Mullis ’72 Martha Heimdahl Slavin ’67

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presentations and one-on-one meetings with a professor) in that The Courtauld Experience each requires students to be self-motivated and independent By Jennifer Spears Brown ’00 scholars. In addition to my thesis and seminars, I had taken an independent study in which I had worked closely with a professor on a set of questions relating to images of women in 19th-century American art. Likewise, I had had the opportunity to participate Just ten weeks after graduating in the Humanities Institute, which required self-discipline and from Scripps, in August 2000, I independent research on a topic of my choice in an area about enrolled in the MA program in which I had very little background:“Humanities and the Law.” the history of art at the Courtauld How much easier it was, then, to tackle independent research Institute of Art in London. It was in 20th-century art, which had been my area of concentration as an exciting time in my life, made an undergraduate. Because of the foundation I built at Scripps possible by Gabrielle Jungels- College, I was able not only to catch up, but to excel in my Winkler ’72, who had created a program. I graduated from the Courtauld in 2001 with an MA in scholarship through the Jungels- the history of art with a focus on nationalism, internationalism Winkler Family Foundation. I and cultural identity in Europe, c. 1907-1945. had transferred to Scripps in 1998 as a non-traditional student (read “older”; I was 30) with aspirations of pursuing a career as a museum “I attribute my academic and curator.While an undergraduate, I held several internships, including the Michael and Jane Wilson Curatorial Internship at the Williamson professional accomplishments Gallery, and another at the Museum of Contemporary Art in to the strong foundation and personal Los Angeles. By the time classes began at the Courtauld, I felt relationships I forged during well on my way to making my goal a reality. Needless to say, my experience at the Courtauld was very different my years at Scripps.” from my years at Scripps.The reality of leaving the protected After finishing my program at the Courtauld Institute, I returned community of a women’s college, with its lush campus set against to Los Angeles, where I worked at the Los Angeles County a backdrop of mountains, for a one-year intensive graduate Museum of Art as the Wallis Annenberg Curatorial Fellow.At program in a big city where I knew no one, began to set in about LACMA, I worked in the Modern and Contemporary Art the second week of class.There was very little class time; indeed, I Department on numerous exhibitions of 20th-century art, was in class only six hours a week.With a plentitude of distractions including American artists Stuart Davis and Jasper Johns, as well in London, it was initially a little hard to be disciplined. For a as Lee Mingwei, an artist from Taiwan now living in New York. while I thought,“This is going to be a breeze!” How wrong I was. Now that the fellowship has come to an end, I find myself back in After the first few weeks, my professors no longer gave lectures; school. I am a third-year doctoral student at the Institute of Fine rather, the students were to present papers we (presumably) had Arts, New York University, and I anticipate a fulfilling curatorial been preparing. So those weeks when I was taking in the sights career. I am focusing on modern and contemporary art at the of the city, making new friends, and generally wondering what I IFA and am considering a dissertation topic which examines the was supposed to be doing beyond reading the assigned text and influence of Surrealism in art of the late 20th-century. leisurely compiling bibliographies for my paper topics, I should Reflecting on life “post-Scripps,” I am grateful that I am a have been in the library making progress on my research! I remem- part of a network of strong, confident women who are eager ber feeling overwhelmed with how behind I already was, and the to encourage and support the success of fellow alumnae. Indeed, semester had just begun. I attribute my academic and professional accomplishments to Only then did I understand that Scripps College had prepared the strong foundation and personal relationships I forged me for this, and there was no need to panic.The senior thesis during my years at Scripps. and upper-division seminars at Scripps are similar to the British educational system’s tutorials (which are composed of student

52 SCRIPPS COLLEGE FALL 2006 262139_Scripps_38-52_r2.qxd 11/3/06 9:41 PM Page 53 PHOTO: SUSAN EINSTEIN “Mirror of the Ages: Kan’ei” (1624-1628) by Yoshu Chikanobu; woodblock print: ink on paper; Scripps College, gift of General and Mrs. Edward Clinton Young. WANT TO OWN A SCRIPPS MASTERPIECE?

Make an investment in Scripps’ future. To highlight the How do you join this wonderful group? You may join the magnificent art owned by Scripps College and to find an appropriate way Ellen Browning Scripps Society with a $2,000 gift and become part of the to thank its most devoted supporters, the College has chosen six of the College’s oldest tradition of giving. For the past 40 years leadership gifts most beautiful and famous pieces from the permanent collections and from Ellen Browning Scripps Society members have provided vital philan- reproduced them as note cards. These one-of-a-kind cards are available thropic support, and their gifts represent nearly 75% of all funds raised for exclusively to members of the Ellen Browning Scripps Society. the College. Graduates of the last decade may join the Ellen Browning Scripps Society as Young Leaders with a gift of $100 for every year since graduation. To make your gift, visit www.scrippscollege.edu and select “Giving to Scripps.”Or phone the Office of Development at 909.621.8160. 262139_Scripps_01-13_r2.qxd 11/3/06 10:17 PM Page i

The serene beauty of Margaret Fowler Garden provides a quiet place to study for Jessica Baum, a first-year student from Phoenix, Arizona.